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Jan 31, 2020-Jan 2, 2021 Margaret Kilgallen that's where the beauty is. Jan 31, 2020-Jan 2, 2021 ∆ Margaret Kilgallen, Money to Loan (Paintings for the San Francisco Bus Shelter Posters) , 2000. Mixed media on paper and fabric, 68 x 48 1/2 in (172.72 x 123.19 cm). Hammer Museum, Los Angeles. Gift of the estate of Margaret Kilgallen and partial purchase with funds provided by The Judith Rothschild Foundation. Photo: Tony Prikryl ∆ Margaret Kilgallen, Money to Loan (Paintings for the San Francisco Bus Shelter Posters) , 2000. Mixed media on paper and fabric, 68 x 48 1/2 in (172.72 x 123.19 cm). Hammer Museum, Los Angeles. Gift of the estate of Margaret Kilgallen and partial purchase with funds provided by The Judith Rothschild Foundation. Photo: Tony Prikryl ∆ Margaret Kilgallen, Money to Loan (Paintings for the San Francisco Bus Shelter Posters) , 2000. Mixed media on paper and fabric, 68 x 48 1/2 in (172.72 x 123.19 cm). Hammer Museum, Los Angeles. Gift of the estate of Margaret Kilgallen and partial purchase with funds provided by The Judith Rothschild Foundation. Photo: Tony Prikryl Jan 31, 2020-Jan 2, 2021 Margaret Kilgallen that's where the beauty is. American artist Margaret Kilgallen (1967–2001) died at the young age of thirty-three, just as her work was gaining recognition and prominence. that’s where the beauty is. , brings to light the astonishing visual complexity of Kilgallen’s short career, highlighting the major themes that unify her multilayered practice. Kilgallen’s work brings front and center an aesthetic that reminds us we need not look only within the commercial mainstream or readily accessible narratives for inspiration and empowerment. Rather she celebrates the handmade, making heroes and heroines of those who live and work in the margins, and challenging traditional gender roles and hierarchies. Her work advocates for a quality of time, celebrating and emphasizing the impact that can come from hard work and individual expression. Organized by moCa’s Chief Curator Courtenay Finn for the Aspen Art Museum, that’s where the beauty is. is Kilgallen’s first posthumous museum exhibition, and the largest presentation of her work to date since her 2005 show, In the Sweet Bye & Bye , at REDCAT, Los Angeles. Working closely with Kilgallen’s estate, the exhibition re-creates versions of pivotal installations and presentations, including her first solo show at The Drawing Center (1997), her first museum exhibition, Hammer Projects: Margaret Kilgallen (2001), and her final installation, Main Drag , created for the exhibition East Meets West at the ICA in Philadelphia (2001). The show pairs key works of Kilgallen’s—now in the collections of the Hammer Museum, the Los Angeles County Museum, and the San Francisco Museum of Modern Art—with never before-seen works from the artist’s estate. Lead sponsorship provided by JOANN. Major support for the exhibition provided by an anonymous donor and the Murphy Foundation. Additional support provided by our WAVE MAKERS.

Oct 8-Nov 7, 2021 Lawrence Baker Taking Another Look Oct 8-Nov 7, 2021 ∆ Lawrence Baker, Invitation 1 . Graphite on paper, 40 x 60 in. Courtesy the artist. ∆ Lawrence Baker, Invitation 1 . Graphite on paper, 40 x 60 in. Courtesy the artist. ∆ Lawrence Baker, Invitation 1 . Graphite on paper, 40 x 60 in. Courtesy the artist. Oct 8-Nov 7, 2021 Lawrence Baker Taking Another Look The Museum of Creative Human Art presents Taking Another Look, a collection of drawings on paper by Lawrence Baker. With his preferred media of graphite, he experiments with color washes and composition to create images of elements found in nature. Influenced by landscape artists, especially Vincent Van Gogh, Baker prioritizes aesthetic choices when expressing himself through his work. During his process of creation, Baker states that his, “mind becomes like unperturbed water: clear, stripped bare, and unencumbered.” He remarks, “As I stand before each blank canvas, my universe becomes the white of the paper and the black of the graphite...Naked is how I came into the world and this is how I approach my work. The emotional baggage that I carry every waking moment of my life is set aside; although in the end, it somehow is manifested in the finished art. I only take what nature provides, making images from what I see and creating a vision that will exceed the sum of its parts.” Presented in partnership w/ About the Artist Lawrence Baker. Photo: Alvin Smith/The Urban Design Suit Lawrence Baker I was born in Jacksonville, Florida during the late 1940's, where dreams were dangerous and notions of high self-esteem were deadly for young Bblack males. In a published book ( Middle Passage: The Artistic Life of Lawrence Baker by Louis B. Burroughs Jr.), I share stories of my torn relationships, the magnetism of the streets, and how art became the canvas for my particular portrayal of life. For me, life became a series of calculations; any miscalculations would have led to my undoing. My sometime successes nourished me. I chose art as my vehicle to seek out some of those successes. Though over a period of twenty to thirty years off and on of seeking higher education, I always made an effort to continue learning in some capacity. Some of those steps of continued learning included receiving a Bachelor of Fine Arts with a minor in Education, Masters of Arts, and Master of Fine Arts from Kent State University, Kent Ohio (1989). I also was the recipient of a Doctorate of Humane Letters from Wilberforce University, Wilberforce, Ohio. Even while reaching for higher education, I continued on seeking acknowledgements for my art. I continued pursuing art to achieve as many successes as possible. Some of my early solo art exhibitions took place at Karamu House, Cleveland, Ohio (1983); Trumbull Art Gallery (1995); Springfield Museum of Art, Springfield, Ohio (2002); Mississippi Valley State University, Ita Bena, Mississippi (2003); Alabama A&M University, Huntsville, Alabama (2006); Erie Art Museum, Erie Pennsylvania, and Cleveland Botanical Gardens , Cleveland, Ohio (both 2007). Some of my selected group art exhibitions include: Annual NOVA Painting Show at Cleveland State University, Cleveland, Ohio, (1982); Afro-American Artist Invitational Exhibition at Lakewood Community College, Mentor, Ohio (1984); Each in their Own Voices, Cleveland State University, Cleveland, Ohio, and Andrews Art Museum, Andrews, North Carolina (both 2009). I have been seeking acknowledgement for my endeavors into fine arts for more than fifty years. In a lot of instances, I have sorted out those efforts through competitive international, national, and local competitions. I have also tried through recognition from foundations with some relations to visual arts. One of my most recent accomplishments was being recognized by the Pollock-Krasner Foundation in 2 017. Some of the most recent competitions include: t he 33rd Annual Tallahassee International , Tallahassee Museum of Fine Arts; the 39th Annual Paper in Particular National Exhibition , Columbia College, Columbia, Missouri, the 46th International Exhibition , Brownsville Museum of Fine Arts, Brownsville, Texas (Third Place), and the 61st Chautauqua Annual Art Exhibition , Chautauqua, New York (all 2018). —Lawrence Baker

Jul 1, 2020-Jun 5, 2021 Martin Creed Work No. 3398 EVERYTHING IS GOING TO BE ALRIGHT Jul 1, 2020-Jun 5, 2021 ∆ Martin Creed, Work No. 3398 EVERYTHING IS GOING TO BE ALRIGHT , 2020. Installation view: moCa Cleveland, 2020. Multicolored Neon, 24 x 837 5/8 in (61 x 2127.5 cm). Courtesy the artist and Hauser & Wirth. © Martin Creed. All Rights Reserved, DACS 2020. Photo: Field Studio. ∆ Martin Creed, Work No. 3398 EVERYTHING IS GOING TO BE ALRIGHT , 2020. Installation view: moCa Cleveland, 2020. Multicolored Neon, 24 x 837 5/8 in (61 x 2127.5 cm). Courtesy the artist and Hauser & Wirth. © Martin Creed. All Rights Reserved, DACS 2020. Photo: Field Studio. ∆ Martin Creed, Work No. 3398 EVERYTHING IS GOING TO BE ALRIGHT , 2020. Installation view: moCa Cleveland, 2020. Multicolored Neon, 24 x 837 5/8 in (61 x 2127.5 cm). Courtesy the artist and Hauser & Wirth. © Martin Creed. All Rights Reserved, DACS 2020. Photo: Field Studio. Jul 1, 2020-Jun 5, 2021 Martin Creed Work No. 3398 EVERYTHING IS GOING TO BE ALRIGHT British artist Martin Creed made the first version of his text-based sculpture Work No. 3398 EVERYTHING IS GOING TO BE ALRIGHT in 1999. One of his most iconic works, variations of the site-responsive neon continue to appear in different sizes and colors throughout the world. The sculpture is emblematic of Creed’s artistic practice, which uses language, ordinary materials, and everyday interventions to communicate with the larger public. Commissioned for moCa’s Gund Commons, Creed’s Work No. 3398 EVERYTHING IS GOING TO BE ALRIGHT (2020) is a single line of unpunctuated text rendered in rainbow neon. The work’s simple statement ‘EVERYTHING IS GOING TO BE ALRIGHT’ stretches across an expanse of wall, revealing itself as you enter the museum. Creed’s sculpture is at once a hopeful, familiar, and reassuring phrase, and a gentle nod to the challenges lying ahead amid the current uncertainties. Major support for Martin Creed: Work No. 3398 EVERYTHING IS GOING TO BE ALRIGHT is provided by Joanne Cohen & Morris Wheeler.

Jan 28-Jun 5, 2022 J.J. Adams Flowers in Temporary Hands Jan 28-Jun 5, 2022 ∆ J.J. Adams, Booker (by the creek) , 1959. Courtesy the artist's family archives ∆ J.J. Adams, Booker (by the creek) , 1959. Courtesy the artist's family archives ∆ J.J. Adams, Booker (by the creek) , 1959. Courtesy the artist's family archives Jan 28-Jun 5, 2022 J.J. Adams Flowers in Temporary Hands J.J. Adams’s Flowers In Temporary Hands explores the role that privilege and race play into an assemblage of any one identity. With four distinct iterations–an artist book, video performance, sound, and sculptural landscape–Flowers In Temporary Hands abstractly layers images as language, culling from a steeply personal and concealed post generational memory. Through a staircased soundscape, the audience is guided into a layered installation of images mounted on a labyrinthine chain-link fence, an echo of the artist’s most significant detainment as a teenage child. Flowers In Temporary Hands addresses legacy through photographs from Adams’s estranged grandfather’s archive, pages from Adams’s teenage journal while institutionalized, and newly produced poems that reflect on the artist’s past state of mind. All come together to reveal a striking but not uncommon portrait of a boy whose narrative of self has been mostly shaped by their single white mother. A series of tender gestures paired with visceral critical inquiry, Flowers In Temporary Hands reminds us that identity, just like history, is both contingent and incomplete. This series of stories has been built from a myriad of people, places, and moments in time. About the Book J.J. Adams’s first publication, Flowers In Temporary Hands , pairs images with language to establish a symbolic universe that mixes personal memory, loss, and desire. Composed of three sections that address different periods in the artist’s life, Flowers in Temporary Hands acts as a timestamp to closure. In The Toothpaste Diaries , Adams shares pages of their journal: a collection of drawings, collages, and writing created during a defining moment of teenage incarceration. These richly layered pieces are juxtaposed with works from the Gregory Adams Archive . This collection of black and white photographs taken by the artist’s estranged grandfather document his own collegial life, from the playing field to the classroom. Poignantly capturing two distinct moments in time, The Toothpaste Diaries and the Gregory Adams Archive are threaded together by Boys Like Us: Part One , a series of formatted and densely layered poems that reflect on J.J. Adams’s past and the construction of family vs. identity. J.J. Adams’s Flowers In Temporary Hands is organized by Puppies Puppies (Jade Kuriki Olivo) as part of Toby’s Prize, a biennial award made possible by Toby Devan Lewis. About the Artist Jesse Hoffman Jesse Hoffman (b. 1989, San Francisco, CA) is an interdisciplinary artist based in Los Angeles, CA. Hoffman’s practice is rooted in the examination of the transitional passages of self-acceptance, belonging, and image over time. With a background in performance, still life photography, and commercial set design, Hoffman uses the archive, the object, and the portrait as form. Hoffman’s work lays bare the complication inherent in identity, emphasizing the poignant resilience and fugue in image/world making.

Jan 27-Jun 11, 2023 Amber N. Ford Someone, Somewhere, Something Jan 27-Jun 11, 2023 ∆ Amber N. Ford, Balloon Release for Bogard , 2021, digital photograph. Courtesy the artist ∆ Amber N. Ford, Balloon Release for Bogard , 2021, digital photograph. Courtesy the artist ∆ Amber N. Ford, Balloon Release for Bogard , 2021, digital photograph. Courtesy the artist Jan 27-Jun 11, 2023 Amber N. Ford Someone, Somewhere, Something Best known for photography, artist Amber N. Ford delves into the medium of sound as a tool to share intimate stories of grief. During her Winter/Spring 2022 residency at moCa, Ford used moCa’s space as a site to collect responses from audiences about their experiences of loss and trauma. Someone, Somewhere, Something applies this content in a new audio work presented in various unconventional sites throughout the museum to create poignant sound collages that make space for mourning while also supporting catharsis and healing. Lead support for Amber N. Ford: Someone, Somewhere, Something is provided by Margaret Cohen & Kevin Rahilly. Additional support provided by The Callahan Foundation. About the Artist Amber N. Ford Amber N. Ford Amber N. Ford (b. 1994, Cleveland, OH) is an artist based in Cleveland, OH. She received her BFA in Photography from the Cleveland Institute of Art (2016). Interested in race, and identity, she is best known for her work in portraiture, which she considers a “collaborative engagement between photographer and sitter.” She has been featured in exhibitions at Kent State University, Transformer Station, SPACES Gallery, The Morgan Conservatory, The Cleveland Print Room, Zygote Press, and Waterloo Arts, as well as in outdoor public spaces on the Capitol Theatre Building located at the corner of Detroit and West 65th. In 2021, her work was on view at ThirdSpace Action Lab as a part of Imagine Otherwise . Recent awards include Gordon Square Arts District Artist-In-Residence (2019) and the Ohio Arts Council Individual Excellence Award (2017).

Oct 8, 2021-Jan 2, 2022 The National AIDS Memorial Quilt In conjunction with moCa’s presentation of Axis Mundo: Queer Networks in Chicano L.A. and World AIDS Day Oct 8, 2021-Jan 2, 2022 ∆ Square from The National AIDS Memorial Quilt (detail). ∆ Square from The National AIDS Memorial Quilt (detail). ∆ Square from The National AIDS Memorial Quilt (detail). Oct 8, 2021-Jan 2, 2022 The National AIDS Memorial Quilt In conjunction with moCa’s presentation of Axis Mundo: Queer Networks in Chicano L.A. and World AIDS Day With over 50,000 panels created by thousands of participants worldwide, the AIDS Memorial Quilt is the world’s largest community folk art project. Made up of individually created three by six-foot panels—each the approximate size of a grave—the Quilt memorializes 125,000-plus victims of AIDS and HIV-related illness. Portraits appear alongside names and dates, pictures of pets, flowers, rainbows, musical instruments, and thousands of other symbols that represent friends, lovers, and family members. Currently spanning 1.2 million square feet and weighing 54 tons, the Quilt is a powerful symbol of the AIDS pandemic and a living memorial to a generation lost to AIDS and HIV-related illness. The Quilt was conceived by long-time San Francisco gay rights activist Cleve Jones, who in 1978 created the first panel in memory of his friend Marvin Feldman. That same year the Quilt grew to 1,920 panels and on October 11, 1987, it was exhibited for the first time on the National Mall in Washington, D.C. where half a million people visited on the opening weekend. Jones said of the Quilt, “It could be therapy, I hoped, for a community that was increasingly paralyzed by grief and rage and powerlessness. It could be a tool for the media, to reveal the humanity behind the statistics. And a weapon to deploy against the government; to shame them with stark visual evidence of their utter failure to respond to the suffering and death that spread and increased with every passing day.” This focused installation brings together two blocks of the Quilt in conjunction with moCa’s presentation of Axis Mundo: Queer Networks in Chicano L.A. and World AIDS Day (December 1). Block 0227 and Block 4506 are a poignant and beautiful tribute to the lives of Edmundo “Mundo” Meza—the artist at the center of Axis Mundo —James Brooke Shoulberg, Michael McDowell, David Caroline, Merle Long, Hugo Niehaus, John (surname unknown), John Doe, Terry David Hernandez, E. Gordon Hanna, Jorge Fernandez, Steve Brown, Ted Zak, David Lewis, Paul Mark Patinka, and Michael F. Farrell. With thousands of displays of the Quilt in locations across the globe, over 14 million people have experienced and participated in the project. To learn more about the National AIDS Memorial Quilt please visit www.aidsmemorial.org/quilt . moCa’s presentation of The National AIDS Memorial Quilt is organized by Courtenay Finn, Chief Curator, Ray Juaire, Exhibitions Director, Lauren Leving, Curator of Public Programs & Artist Residencies, Karl Anderson, Exhibition Technician, and supported by the entire moCa Cleveland staff.

Apr 27, 2019-Jan 5, 2020 Louise Lawler Birdcalls Apr 27, 2019-Jan 5, 2020 ∆ Louise Lawler, Portrait , 1972. Image courtesy the Lewitt Collection, Chester, CT ∆ Louise Lawler, Portrait , 1972. Image courtesy the Lewitt Collection, Chester, CT ∆ Louise Lawler, Portrait , 1972. Image courtesy the Lewitt Collection, Chester, CT Apr 27, 2019-Jan 5, 2020 Louise Lawler Birdcalls In Louise Lawler’s Birdcalls (1978–81), the names of twenty-nine well-known male artists have been sounded out into birdcalls. Using her own voice, Lawler transforms each artist’s first and last name into a nuanced birdcall, ranging from a shrill squawk to manic chatter. Installed in moCa’s Kohl Interior Stair, the audio track is accompanied by the full list of artist names: Vito Acconci, Carl Andre, Richard Artschwager, John Baldessari, Robert Barry, Joseph Beuys, Daniel Buren, Sandro Chia, Francesco Clemente, Enzo Cucchi, Gilbert & George, Dan Graham, Hans Haacke, Neil Jenney, Donald Judd, Anselm Kiefer, Joseph Kosuth, Sol LeWitt, Richard Long, Gordon Matta-Clark, Mario Merz, Sigmar Polke, Gerhard Richter, Ed Ruscha, Julian Schnabel, Cy Twombly, Andy Warhol, and Lawrence Weiner. Spotlighting Lawler’s successful male contemporaries at the time, Birdcalls directly addresses the skewed gender dynamics of the art world, pointing out the role that name recognition plays in establishing credibility, respect, and support. As timely now as it was when it was created, Lawler’s Birdcalls is a humorous yet poignant reminder that there is still work to be done. All current exhibitions are funded by The Andy Warhol Foundation for the Visual Arts and Leadership Circle gifts from anonymous donors, Yuval Brisker, Joanne Cohen and Morris Wheeler, Margaret Cohen and Kevin Rahilly, Grosvie and Charlie Cooley, Becky Dunn, Lauren Rich Fine, Harriet Goldberg, Agnes Gund, Michelle and Richard Jeschelnig, Kohl Family, Jan Lewis, Toby Devan Lewis, Roy Minoff, and Scott and Kelly Mueller. All moCa Cleveland exhibitions are supported in part by the residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture, the Cleveland Foundation, the George Gund Foundation, and the continuing support of the Museum’s Board of Directors, patrons, and members.

Jul 14-Sep 30, 2018 Cyprien Gaillard Nightlife Jul 14-Sep 30, 2018 ∆ Cyprien Gaillard, Nightlife (Film Still), 2015, 3D motion picture, DCI DCP, 14:56 min. Copyright Cyprien Gaillard. Courtesy the artist and Sprüth Magers. Soundtrack © BLACK MAN’S WORLD Performed by Alton Ellis, (P) 1970 Sanctuary Records Ltd., a BMG Company, Courtesy of BMG Rights Management GmbH. Written and composed by Alton N. Ellis, published by Haka Taka Music. Courtesy of Melodie der Welt GmbH & Co. KG © BLACK MAN’S PRIDE featuring the performance of Alton Ellis is licensed by Jamaica Recording and Publishing Studio Limited,. 13 Studio One Boulevard, Kingston 5, Jamaica. Written and composed by Alton Ellis, published by Third Side Music o/b/o Jamrec. Music,, Courtesy of Rückbank Musikverlag Mark Chung. ∆ Cyprien Gaillard, Nightlife (Film Still), 2015, 3D motion picture, DCI DCP, 14:56 min. Copyright Cyprien Gaillard. Courtesy the artist and Sprüth Magers. Soundtrack © BLACK MAN’S WORLD Performed by Alton Ellis, (P) 1970 Sanctuary Records Ltd., a BMG Company, Courtesy of BMG Rights Management GmbH. Written and composed by Alton N. Ellis, published by Haka Taka Music. Courtesy of Melodie der Welt GmbH & Co. KG © BLACK MAN’S PRIDE featuring the performance of Alton Ellis is licensed by Jamaica Recording and Publishing Studio Limited,. 13 Studio One Boulevard, Kingston 5, Jamaica. Written and composed by Alton Ellis, published by Third Side Music o/b/o Jamrec. Music,, Courtesy of Rückbank Musikverlag Mark Chung. ∆ Cyprien Gaillard, Nightlife (Film Still), 2015, 3D motion picture, DCI DCP, 14:56 min. Copyright Cyprien Gaillard. Courtesy the artist and Sprüth Magers. Soundtrack © BLACK MAN’S WORLD Performed by Alton Ellis, (P) 1970 Sanctuary Records Ltd., a BMG Company, Courtesy of BMG Rights Management GmbH. Written and composed by Alton N. Ellis, published by Haka Taka Music. Courtesy of Melodie der Welt GmbH & Co. KG © BLACK MAN’S PRIDE featuring the performance of Alton Ellis is licensed by Jamaica Recording and Publishing Studio Limited,. 13 Studio One Boulevard, Kingston 5, Jamaica. Written and composed by Alton Ellis, published by Third Side Music o/b/o Jamrec. Music,, Courtesy of Rückbank Musikverlag Mark Chung. Jul 14-Sep 30, 2018 Cyprien Gaillard Nightlife Much of Cyprien Gaillard’s work investigates the eccentricities, buried histories, and inherent cycles of renewal and decay in the urban environment. Through film, video, sculpture, photography, and various interventions in public space, Gaillard presents narratives and forms that reflect upon the often unacknowledged histories of monuments, cities, and landscapes. Shot entirely at night over the course of two years, Nightlife (2015) connects a series of seemingly unrelated natural and cultural phenomena throughout Cleveland, Los Angeles and Berlin. Organized into distinct chapters, the three-dimensional film brings together an obscure yet significant mix of historical monuments and occurrences to form a hyper psychedelic experience. Support for MOCA Cleveland’s presentation of Cyprien Gaillard: Nightlife is provided by Étant donnés Contemporary Art, a program of the French American Cultural Exchange (FACE) Foundation . Étant donnés is developed in partnership with the Cultural Services of the French Embassy in the United States, with lead funding from the Florence Gould Foundation, the Helen Frankenthaler Foundation, Chanel USA, the ADAGP, the French Ministry of Culture, and Institut Français. Generous support also provided by Gladstone Gallery, New York and Brussels and Sprüth Magers . Sherwin-Williams is the official paint of moCa Cleveland. All current exhibitions are funded by The Andy Warhol Foundation for the Visual Arts and Leadership Circle gifts from anonymous donors, Yuval Brisker, Joanne Cohen and Morris Wheeler, Margaret Cohen and Kevin Rahilly, Becky Dunn, Harriet Goldberg, Agnes Gund, Michelle and Richard Jeschelnig, Donna and Stewart Kohl, Jan Lewis, Toby Devan Lewis, and Scott Mueller. All moCa Cleveland exhibitions are supported in part by the residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture, the Cleveland Foundation, the George Gund Foundation, and the continuing support of the Museum’s Board of Directors, patrons, and members. Presented as a part of FRONT Internatinal Cleveland Triennial for Contemporary Art. About FRONT International FRONT International: Cleveland Triennial for Contemporary Art is an exhibition comprised of artist commissions, performances, films, and public programs that will launch its inaugural edition in July of 2018. An American City: Eleven Cultural Exercises, in collaboration with museums, civic institutions, and alternative spaces across Cleveland, Akron and Oberlin, will showcase an ambitious roster of projects, including performance and theater throughout the landscape and built environment. With a roster of national, international and area-based artists at all points in their career, FRONT will examine the ever-changing and politically urgent conditions of an American city.

Jul 16-Dec 31, 2022 Renée Green Contact Jul 16-Dec 31, 2022 ∆ Renée Green: Contact . Installation view at moCa Cleveland, presented in partnership with FRONT International's 2022's second iteration, Oh, Gods of Dust and Rainbows. Photo: Field Studio ∆ Renée Green: Contact . Installation view at moCa Cleveland, presented in partnership with FRONT International's 2022's second iteration, Oh, Gods of Dust and Rainbows. Photo: Field Studio ∆ Renée Green: Contact . Installation view at moCa Cleveland, presented in partnership with FRONT International's 2022's second iteration, Oh, Gods of Dust and Rainbows. Photo: Field Studio Jul 16-Dec 31, 2022 Renée Green Contact What is “contact” now? For FRONT 2022 , Cleveland-born artist Renée Green has conceived Contact , her first major exhibition in the city, which occupies all of moCa Cleveland’s public spaces and radiates out into the city with workshops and film screenings. A contrapuntal exhibition, Contact weaves together Green’s own works–some newly commissioned by FRONT 2022–with a vast array of invited participants with whom she’s been in conversation through the years. This relates to Green’s accretive way of working, developing exhibitions by modifying and subsequently re-presenting works and ideas in relation to other contexts. And while Contact coincides with FRONT 2022, the endeavor was initially conceived in 2019 and will continue through the end of the year, resonating with the triennial’s attempt to break the three-month exhibition format. Engaging with moCa Cleveland’s unique architecture, this exhibition establishes a spatial, sonic, and cinematic conversation between multiple artworks and agents. Green’s pioneering aesthetic practice connects with two of the triennial’s key themes: a focus on the expanded role of artists as collaborative practitioners and the idea that the processes of artmaking can create essential bridges between people. In addition to Green, Contact features the art, thinking, and voices of a diverse ensemble of artists and practitioners, including John Akomfrah, Marcel Broodthaers, Cinematic Migrations Workshop, Free Agent Media, Laura Serejo Genes, Lina Gopaul, Derrick Green, Index Literacy Program, Gabriel Kahan, David Lawson, New Humans, Nolan Oswald Dennis, Suneil Sanzgiri, Sense LA, Smoking Dogs Films, Jessica Sarah Rinland, Ian Soroka, Mika Tajima, and Pedro Zylbersztajn. Renée Green’s exhibition Contact is presented in partnership with FRONT International 2022’s second iteration, Oh, Gods of Dust and Rainbows. This project is supported in part by the National Endowment for the Arts. Generous support provided by Hahn Loeser & Parks LLP. Additional support provided by Michelle Shan Jeschelnig and Richard Jeschelnig, and the Anselm Talalay Photography Endowment. About FRONT Launched in 2018, FRONT International is a contemporary art exhibition that presents artist commissions, performances, films, and public programs across Northeast Ohio every three years. The 2022 edition, Oh, Gods of Dust and Rainbows , embraces art as an agent of transformation, a mode of healing, and a therapeutic process. The title is an homage to “Two Somewhat Different Epigrams,” a 1957 poem by Langston Hughes, who moved to Cleveland in his childhood and maintained an artistic connection to the region. A tender, brutal, and provocative prayer, the poem meditates on the inseparability of joy and suffering. Amid a time of ongoing tragedy and loss, FRONT 2022 explores how artmaking can heal us—as individuals, as groups, and as a society. Spanning over twenty-five sites in Cleveland, Akron, and Oberlin, the exhibition bears witness to interlocking personal and public crises while emphasizing collaborative creative processes, partnering closely with institutions across the region, and connecting artists with local communities. Oh, Gods of Dust and Rainbows features over ninety regional, national, and international artists. Starting with how daily practice allows individual artists to cultivate liberation, the triennial also demonstrates how aesthetic pleasure—sharing joy through movement, music, craft, and color—can bring different people together. Finally, the exhibition suggests ways that contemporary art can speak with power, showing us how to recognize and reimagine the invisible structures that govern our lives. For more information, visit FrontArt.org .

Jul 16, 2021-Jan 2, 2022 Axis Mundo: Queer Networks in Chicano L.A. Jul 16, 2021-Jan 2, 2022 ∆ Anthony Friedkin, Jim and Mundo, Montebello, East Los Angeles , 1972. From The Gay Essay, 1969–73. Gelatin silver print, 11 x 14 in. Gift of Anthony Friedkin. ONE National Gay & Lesbian Archives at the USC Libraries. Courtesy of Anthony Friedkin ∆ Anthony Friedkin, Jim and Mundo, Montebello, East Los Angeles , 1972. From The Gay Essay, 1969–73. Gelatin silver print, 11 x 14 in. Gift of Anthony Friedkin. ONE National Gay & Lesbian Archives at the USC Libraries. Courtesy of Anthony Friedkin ∆ Anthony Friedkin, Jim and Mundo, Montebello, East Los Angeles , 1972. From The Gay Essay, 1969–73. Gelatin silver print, 11 x 14 in. Gift of Anthony Friedkin. ONE National Gay & Lesbian Archives at the USC Libraries. Courtesy of Anthony Friedkin Jul 16, 2021-Jan 2, 2022 Axis Mundo: Queer Networks in Chicano L.A. Axis Mundo: Queer Networks in Chicano L.A. maps the intersections and collaborations among a network of Los Angeles based queer Chicanx artists and their artistic collaborators between the late 1960s and early 1990s. Taking its title in deference to the artist Edmundo “Mundo” Meza (1955-1985), a central figure within his generation, Axis Mundo presents over two decades of work—painting, performance ephemera, print material, video, music, fashion, and photography— created in the context of significant artistic and cultural movements, from the emergence of the Chicanx civil rights, women’s, and LGBTQ liberation movements through to the political activism around the AIDS epidemic. While the exhibition centers on Los Angeles, it reveals new research into the collaborative networks that connected these artists to one another and to artists from many cultural backgrounds, sexual orientations, and international urban centers, thus deepening and expanding narratives about the development of the Chicanx Art Movement, performance art, and queer aesthetics and practices. Curated by C. Ondine Chavoya and David Evans Frantz, Axis Mundo marks the first historical consideration and significant showing of many of these pioneering artists’ work. Artists: Laura Aguilar, Jerri Allyn, Carlos Almaraz, Skot Armstrong, David Arnoff, Steven Arnold, Asco, Judith F. Baca, Alice Bag, Tosh Carrillo, Monte Cazazza, Edward Colver, Vaginal Davis, DIVA TV, Jerry Dreva, Tomata Du Plenty, Simon Doonan, Tomata du Plenty, Elsa Flores, Anthony Friedkin, Harry Gamboa Jr., Roberto Gil de Montes, Gronk, Jef Huereque, Louis Jacinto, Ray Johnson, Alison Knowles, Robert Lambert, Robert Legorreta (Cyclona), Zoe Leonard, Les Petites Bonbons, Scott Lindgren, Mundo Meza, Judy Miranda, Ray Navarro, Nervous Gender, Graciela Gutiérrez Marx and Edgardo Antionio Vigo, Richard Nieblas, Dámaso Ogaz, Pauline Oliveros, Ferrara Brain Pan, Genesis Breyer P-Orridge, Clemente Padín, Phranc, Ruby Ray, Albert Sanchez, Teddy Sandoval, Joey Terrill, Cosey Fanni Tutti, Patssi Valdez, Ricardo Valverde, Jack Vargas, Gerardo Velázquez, Johanna Went, Faith Wilding Axis Mundo: Queer Networks in Chicano L.A. is curated by C. Ondine Chavoya and David Evans Frantz as part of Pacific Standard Time: LA/LA, an initiative of the Getty to encourage ambitious research and exhibitions at Southern California cultural institutions. The exhibition is organized by ONE National Gay & Lesbian Archives at the USC Libraries in collaboration with The Museum of Contemporary Art, Los Angeles, and organized as a traveling exhibition by Independent Curators International (ICI). Lead support for Axis Mundo is provided through grants from the Getty Foundation. This exhibition is supported in part by an award from the National Endowment for the Arts. Additional support has been provided by The Calamus Foundation of New York, Inc., the City of West Hollywood through WeHo Arts—the City’s Arts Division and Arts & Cultural Affairs Commission, Kathleen Garfield, the ONE Archives Foundation, the USC Libraries, and the Luis Balmaseda Fund for Gay & Lesbian Archives, administered by the California Community Foundation. Funding for the exhibition tour has been provided by the generous support from ICI’s International Forum and the ICI Board of Trustees. Crozier Fine Arts is the Preferred Art Logistics Partner.

Feb 2-May 26, 2024 Manabu Ikeda Flowers from the Wreckage Feb 2-May 26, 2024 ∆ Manabu Ikeda, Rebirth , 2013-16 pen, acrylic ink and transparent watercolour on paper, mounted on board, 118.11 x 157.48 in, collection of Saga Prefectural Art Museum. Digital Archive: TOPPAN PRINTING CO., LTD. ©️IKEDA Manabu, Courtesy Mizuma Art Gallery, Tokyo / Singapore ∆ Manabu Ikeda, Rebirth , 2013-16 pen, acrylic ink and transparent watercolour on paper, mounted on board, 118.11 x 157.48 in, collection of Saga Prefectural Art Museum. Digital Archive: TOPPAN PRINTING CO., LTD. ©️IKEDA Manabu, Courtesy Mizuma Art Gallery, Tokyo / Singapore ∆ Manabu Ikeda, Rebirth , 2013-16 pen, acrylic ink and transparent watercolour on paper, mounted on board, 118.11 x 157.48 in, collection of Saga Prefectural Art Museum. Digital Archive: TOPPAN PRINTING CO., LTD. ©️IKEDA Manabu, Courtesy Mizuma Art Gallery, Tokyo / Singapore Feb 2-May 26, 2024 Manabu Ikeda Flowers from the Wreckage Organized and circulated by the Audain Art Museum, Whistler, BC, Canada, with the generous support from the Audain Foundation. This exhibition is curated by Kiriko Watanabe, Gail & Stephen A. Jarislowsky Curator, Audain Art Museum. About the Exhibition The first North American retrospective of its kind, Manabu Ikeda: Flowers from the Wreckage presents over 50 works from the past 25 years. Seeking inspiration from his surroundings, Ikeda (born 1973, Saga, Japan; lives and works in Madison, WI) brings attention and inspiration to viewers while sending warnings about the painful reality of environmental disasters. Central to his practice are metaphors of grief and the undeniable aspects of life, including the fundamental forces of Mother Nature. Ikeda’s drawings also reveal human resilience and the ability to rise above devastating situations when it appears impossible. Organized by the Audain Art Musuem (Whistler, Canada) and curated by Kiriko Watanabe, Gail & Stephen A. Jarislowsky Curator, the show includes several of Ikeda’s renowned monumental works including Foretoken (2008), Meltdown (2013), and Rebirth (2013-16). In each of his works, Ikeda painstakingly constructs worlds that are both profoundly familiar and yet beyond comprehension, inspiring and awe-inspiring in equal measure. The artist created Meltdown and Rebirth as a response to the 2011 Great East Japan Earthquake, the most devastating earthquake, tsunami, and nuclear power disaster in the country’s recorded history. moCa Cleveland's presentation of this exhibtion marks its United States debut. Presenting sponsor Lead support from Lead support for Manabu Ikeda's Artist Residency and related programming Artist Residency Manabu Ikeda Manabu Ikeda will be in residence at moCa multiple times during the exhibition, working on a new, monumental drawing in a temporary studio within moCa's Mueller Family Gallery. For a full list of dates, visit moCa's Events page. About the Audain Art Museum Established in 2016, the Audain Art Museum (AAM) is a leading arts organization founded upon the major philanthropic gift of Michael Audain and Yoshiko Karasawa. Located in Whistler, British Columbia and designed by the internationally-renowned firm Patkau Architects, the AAM boasts a comprehensive Permanent Collection of the province's most celebrated artists. Exemplifying the richness of cultural difference in Canada, the collection takes visitors on a transformative visual journey form the late 18th century to present. Highlights include hereditary Haida Chief James Hart's The Dance Screen (The Scream Too), an exceptional collection of historical and contemporary Indigenous masks, the largest permanent display of paintings by Emily Carr, and key examples of the Vancouver photo conceptualism movement. In addition, the Museum hosts dynamic exhibitions from around the world. Installation Images Manabu Ikeda: Flowers from the Wreckage . Installation views at moCa Cleveland, 2024. Photos: Jacob Koestler

Oct 7, 2017-Jan 28, 2018 A Poet*hical Wager Doug Ashford Abbas Akhavan Abraham Cruzvillegas Lara Favaretto Iman Issa Rashid Johnson Jumana Manna Oscar Murillo Tariku Shiferaw Mario GarcÍa Torres Emanuel Tovar Oct 7, 2017-Jan 28, 2018 ∆ Installation view, A Poet*hical Wager, 2017, at moCa Cleveland. Photo: Jerry Birchfield. ∆ Installation view, A Poet*hical Wager, 2017, at moCa Cleveland. Photo: Jerry Birchfield. ∆ Installation view, A Poet*hical Wager, 2017, at moCa Cleveland. Photo: Jerry Birchfield. Oct 7, 2017-Jan 28, 2018 A Poet*hical Wager Doug Ashford Abbas Akhavan Abraham Cruzvillegas Lara Favaretto Iman Issa Rashid Johnson Jumana Manna Oscar Murillo Tariku Shiferaw Mario GarcÍa Torres Emanuel Tovar Timed with the fifth anniversary of MOCA Cleveland’s Farshid Moussavi-designed building, A Poet*hical Wager explores the ethical dimension of works that use abstraction, minimalism, and assemblage to approach complex ideas that cannot be addressed through representation. Emblematic of an increasing global dependence on abstract transactions that occur largely outside of our vision and comprehension, the works in the exhibition manifest the complexity of modern life in both form and process. The title of this exhibition references the book The Poethical Wager by American poet and scholar, Joan Retallack, which is in part about forms that break patterns. Through the lens of international artists working in a wide variety of media—sculpture, assemblage, film, installation, and painting—the exhibition probes how subjects born of changes in our international social, political, and economic contexts inhabit unexpected artistic forms. Rather than create works that function as direct accounts of a specific event or situation, the artists in the exhibition use form to weave a complex narrative using a constellation of source materials. In this way, viewers encounter a poetic interpretation of a specific subject that may more closely approximate its felt experience. Curator Andria Hickey states, “The exhibition is developed through conversations with artists and seems especially timely given the increasingly complex relationship we have with world events that are both affecting and divorced from personal experience. Looking at abstraction as a form of response suggests a different way of working, and a different way of thinking about the affective power of art today.” Artists include Doug Ashford (b. 1958, Rabat, MA); Abbas Akhavan (b. 1977, Tehran, IR); Abraham Cruzvillegas (b. 1968, Mexico City, MX); Lara Favaretto (b. 1973, Treviso, Italy); Iman Issa (b. 1979, Cairo, EG); Rashid Johnson (b. 1977, Chicago, Illinois); Jumana Manna (b. 1987, Princeton, NJ); Oscar Murillo (b.1986, Valle del Cauca, Colombia), Tariku Shiferaw (b.1983, Addis Ababa, Ethiopia); and Mario GarcÍa Torres (b. 1975, Monclova, Mexico), Emanuel Tovar (b. 1974, Guadalajara, Mexico). Major support for A Poet*hical Wager is provided by Scott Mueller, with additional support from BakerHostetler, kurimanzutto, Mexico City and PÁRAMO. Community support provided by InterContinental Hotel Cleveland. All current exhibitions are funded by The Andy Warhol Foundation for the Visual Arts and Leadership Circle gifts from anonymous donors, Yuval Brisker, Joanne Cohen and Morris Wheeler, Margaret Cohen and Kevin Rahilly, Becky Dunn, Harriet Goldberg, Agnes Gund, Richard and Michelle Jeschelnig, Donna and Stewart Kohl, Jan Lewis, Toby Devan Lewis, and Scott Mueller. All moCa Cleveland exhibitions are supported in part by the residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture, the Cleveland Foundation, the George Gund Foundation, and the continuing support of the Museum’s Board of Directors, patrons, and members. Installation Images