Many of the works presented in Multiple Offerings can be read as poetic gestures of sympathy and solidarity with the turbulent political situation in South Korea throughout the 1970s and 1980s.

Pegan Brooke’s new oil paintings are masterpieces of delicate evanescence, simultaneously allusive and omnipresent.

Bay Area Then was gathered by guest curator Eungie Joo, its title a play on the Bay Area Now triennial exhibitions hosted by the Yerba Buena Center for the Arts since 1997.

Most of the new works in Lynn Hershman Leeson’s About Time represent a departure from earlier efforts that focus on the anxious tension between virtual bodies and real mortality: an emerging concern in these post-pandemic times of vaccine controversy.

Mildred Howard’s exhibition is the most recent installment of a far-flung project begun at two other venues a year ago, all interrogating the ways that idealized historical representation falsifies actual history.

On July 4, 1975—two weeks before the release of Steven Spielberg’s Jaws—a group of renegade architects called Ant Farm convened an event on the vast parking lot of San Francisco’s Cow Palace.

Thoma Hall’s hybrid constructions in To See with Eyes Closed are suffused with an archeological romance that imagines a magical reanimation of seemingly (un)dead or otherwise forlorn forms, showing how they are haunted by their past lives.

Mythopoesis contains a selection of fifteen works by Carrington dating from 1940 to 1987. Two of the three drawings included in the exhibition were executed in Spain, the rest in Mexico.

Each individual painting in Amy Sherald: American Sublime features a psychological tension between disassociation and a call for empathy, consistently playing conflicting notions of identity with and against each other.