“It's pure curiosity. It's 95% just constantly asking questions: what's the right direction for this work of art? How should you install it? Will it survive outdoors? By asking these questions, by expressing curiosity, you're in a train of thought that leads to the most interesting places...I think what sustains it, and maybe this is also something of our personality as a studio — is not reaching, not forcing it into one conclusion or another.”
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Shifting Coordinates
Image from the June 2026 exhibition, Shifting Coordinates, at the Kunstnerforbundet in Oslo, Norway.
We Are Out of Place
Until 1999, my sculpture was participatory in the sense that I built reading rooms, reading gardens, bridges, workers' lounges, etc. Previously, I knew architecture not as a "thing between four walls in a spatial sense, but as a place for resting, sleeping, working." But since then I have enclosed the sculptures so that people cannot enter; they have to walk around the sculpture and view it. Adorno's ironic statement—"it is part of morality not to be at home in one's home"—now guides my work. Outside of these enclosed spaces, we are out of place, as though banished, estranged, expelled, or as Lukács says, experiencing a "transcendental homelessness."
Siah Armajani
from Notes on Exile
Siah Armajani
from Notes on Exile
Adrianna Ault, from The Impeded Stream
“...a meditation on rural land and how it sustains us and maybe, also, family and how we're sustained by those who came before us. I didn't come by this understanding until I made the work. My work is my teacher. I listen what it tells me to do and, in this way, I learn from it.”
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The Frailest Stems
The underside of the leaf
Cool in shadow
Sublimely unemphatic
Smiling of innocence
The frailest stems
Quivering in light
Bend and break
In silence
Agnes Martin
from Writings
Cool in shadow
Sublimely unemphatic
Smiling of innocence
The frailest stems
Quivering in light
Bend and break
In silence
Agnes Martin
from Writings
Agnes Martin, The Tree, 1964