San Francisco Museum of Modern Art (SFMOMA)
    151 Third Street
    April 20–August 4

    Yerba Buena Center for the Arts
    701 Mission Street

    Curated by Rudolf Frieling, Lucía Sanromán, and Dominic Willsdon

    In the field of social practice, Suzanne Lacy is a pioneering and deeply respected figure, having worked for nearly five decades to define this mode of production through activism, performance, community outreach, and pedagogy. With fearlessness, urgency, and, at times, humor, she has tackled complex and vital issues, from rape and systems of violence to international borders, environmental sustainability, and women in leadership. Presented jointly at the Yerba Buena Center for the Arts and the San Francisco Museum of Modern Art, this retrospective will align Lacy’s important early photos, videos, and performances with her major installations and long-term works, such as The Oakland Projects, 1991–2001. The exhibition’s extensive catalogue—featuring some four hundred archival illustrations alongside key essays by her collaborators and contemporaries—should provide much-needed scholarship on Lacy’s crucial contributions.


    San Francisco Museum of Modern Art (SFMOMA)
    151 Third Street
    December 15–March 31

    Curated by Gary Garrels and Ian Alteveer with Nancy Lim and Meredith A. Brown

    The inexplicable thereness of a Vija Celmins–rendered image or object is difficult to parse. Be it via a drawing of rippling waters or a scrupulously crafted replica of a stone, she has the preternatural ability to turn the most common of vistas and subjects into moments of divine strangeness. “Vija Celmins: To Fix the Image in Memory” is the artist’s first North American retrospective in twenty-five years. The survey will feature roughly 150 paintings, sculptures, and drawings, including new works created specifically for the exhibition (no minor feat, as Celmins is a famously exacting and deliberate maker who often takes years to finish a piece). The accompanying catalogue, edited by SFMOMA’s Gary Garrels, will feature essays from critic Suzanne Hudson, art historian Briony Fer, and the Met’s Ian Alteveer, among others. More than five decades of Celmins’s production—a kind of work that asks a viewer to not just see a thing, but scrutinize its every contour—will be on display. Travels to the Met Breuer, New York, September 24, 2019–January 12, 2020.