The Southern Review, 1986 (Winter); 2018; Bethany Collins (American, born 1984)

This installation features recently acquired works on paper alongside prints, drawings, and photographs in the museum’s collection since the 1980s. Together, these compelling objects, old and new, highlight the museum’s efforts to broaden the types of art and artists who enter the collection.

Score for Sustained Blackness #4; 2014-2016; Jennie C. Jones (American, born 1968)

Grouped by themes of music, language, and environment, the selections showcase the variety of ways that diverse artists engage with abstraction, minimalism, and conceptualism. Some, like drawings by jazz composer Jason Moran and sound artist Jennie C. Jones, along with scores by composer John Cage, translate music and sounds into something we can see. Others, like Michelle Stuart’s large metaphorical map, start new conversations with classic works from the Land Art movement by Richard Serra and Richard Long.