This exhibition brings together two seemingly distinct art forms: Pueblo pottery and classic cars. In 2014, Rose B. Simpson, a mixed-media artist from Santa Clara Pueblo, New Mexico, refurbished a 1985 Chevy El Camino, transforming it with a black-on-black Tewa pottery motif. Simpson titled her work Maria in honor of renowned artist Maria Martinez (San Ildefonso Pueblo, 1887–1980), who popularized the distinctive black-on-black style. Ten years later, this exhibition debuts Simpson’s second customized car, a 1964 Buick Riviera painted in vibrant polychrome.

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Celebrating the vibrancy and diversity of Indigenous American art, this new presentation features beloved collection highlights alongside major acquisitions and commissions by contemporary artists. In the most extensive reinstallation of this collection in 20 years, each of the four refreshed galleries explores a different aspect of the theme “Relationship to Place.” Developed with Native scholars and in consultation with communities of origin, the project centers Indigenous values and voices. Works spanning over a thousand years of history in all types of media challenge expectations about what Native art is and can be.

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Part of the reimagining of our Arts of Indigenous America galleries, this is the first in a series of exhibitions that highlights specific regions of Native California. This installation explores the interconnections between art, ceremony, and the land in the Karuk, Yurok, Hupa, Tolowa, and Wiyot communities of northwestern California. The exhibition presents collection highlights alongside major loans, acquisitions, and commissions by contemporary artists.

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This exhibition is the second in a series highlighting contemporary Bay Area artists in our collection. The installation explores how artists relate to their environments through place: place as the physical land, place as heritage, place as the imaginary, and place as belonging.

Several artists examine climate change and its local impact. In Saif Azzuz’s Lo’op’ (It burns) (2021), he draws the color palette from maps of the 2021 droughts and fires in California. Other artists use found materials not only to address ecological issues but also to add layers of meaning, such as in Guillermo Galindo’s Listo (Ready to Go) (2015), made from a broken bicycle and chair he found along the US-Mexico border. And others play with figure and ground: Clare Rojas’s Walking in Rainbow Rain (2021) is a meditation on disappearing into one’s environment.

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Alejandro Cartagena: Ground Rules is the first major retrospective of the acclaimed photographer, bringing together over two decades of his work through an expansive multi-series presentation. Born in the Dominican Republic and based in Monterrey, Mexico, Cartagena explores pressing social and environmental issues through a striking range of photographic practices that includes documentary images, collage, appropriated vernacular photographs, and AI-generated video.

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Writing functions not only as language, but also as a visual and even tactile form. Famed artist and educator Josef Albers imparted this idea to his students at Black Mountain College, a former liberal arts school in North Carolina, where artist Ray Johnson studied from 1945 to 1948. In an exercise called “typofacture,” Albers asked students in his design course to create drawings mimicking printed or handwritten text. After observing textures on surfaces — like speckles on a wall or patterns in a raked garden path — they applied the concept to printed text, which bears the imprint of its production, whether by hand or machine.

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For nearly seven decades, Sheila Hicks has created groundbreaking works that redefine the expressive possibilities of fiber as a sculptural form. Based in Paris since 1964, she incorporates natural and synthetic materials at a range of scales from intimate weavings made on handheld frames to monumental installations that inhabit architecture.

Hicks’s first solo exhibition at SFMOMA features a site-specific installation in the museum’s New Work gallery. The works are inspired by objects, textures, and patterns observed in her adopted city or in her migratory life. Each draws from places with personal significance, from the cobblestones of her courtyard to the towering lighthouses of the rocky island of Ouessant, France and its treacherous and rugged landscape.

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