This year marks the twentieth anniversary of “The Quilts of Gee’s Bend,” an epic exhibition that opened at the Museum of Fine Arts, Houston, and traveled for four years. The show helped to reframe its titular objects—made exclusively by Black women in rural Alabama—as modernist artworks. Writing about the presentation when it was on view at the Whitney Museum of American Art for the New York Times, Michael Kimmelman was palpably enthused, finding in the quilts’ ingenious geometries “some of the most miraculous works of modern art America has produced,” noting the formal apposition of the designs

“Three Landscapes” brought together a trio of artists who lived and worked, both individually and collaboratively, in Marin County, California, during the 1960s and ’70s: dancer and choreographer Anna Halprin (1920–2021); her husband, landscape architect Lawrence Halprin (1916–2009); and sculptor JB Blunk (1926–2002). This charming show foregrounded the aesthetic influence of Marin County, that magical cusp of land north of San Francisco that’s still rife with foggy cow pastures, eucalyptus-lined country roads, and shuck-it-yourself oyster shacks overlooking the sea. The Halprin family home,