Wilt considers the end of one chapter as inseparable from the beginning of another. Situated within a home between inhabitants, Wilt invites viewers to dwell in this state of transition. The works gathered here resist fixed notions of “beginning” or “end,” instead tracing the porous, overlapping nature of change. Across the exhibition, cycles of memory, decay, inheritance, and transformation are explored through image, object, and language—not to preserve them completely, but to allow them to linger, dissipate, and take shape anew.
With – Katherine March Driscoll, Abbi Kenny, Emma Ressel, David Sater, Alaina Sullivan, Rae Wilson
Reading by Sophie Strand
Sunspots brought together ten photographers from Bard College’s Class of 2016. Engaging the medium in distinct ways, these artists work in a world where “the natural” has become a complicated and contested zone—something observed, manipulated, cherished, and reimagined. Together, their photographs reflect on the shifting relationship between humans and the environments they inhabit.
With — Jessica Chappe, Chris Freund, Margot Kalach, Emily Lyon, Antoine Midant, Sebastian Nicolau, Rosa Polin, Emma Ressel, Emily Stern, Sam Williams
Everything Is Waiting For You engaged the everyday—the grounded familiar forms that quietly shape our lives. This exhibition invited a shift in perspective: to see these often overlooked elements not merely as functional or fixed, but as artful—alive with potential. Each artist brought this notion into form, offering new ways to see and feel the ordinary.
With — Tania Alvarez, Maëlis Bekkouche, Ori Carlin, Strega Flora, Aspen Golann, Kieran Kinsella, Janie Korn, Curtis Lafollette, Akiva Listman, Kevin Reinhart, Larry Rivers, Judd Schiffman, Katie Stout, Sophie Stone, Anya Ulinich, Gio Valdeavellano, Mike White, Rae Wilson
Wire Works presented sculptural and wearable pieces by artist Rodger Stevens alongside jewelry by designer Mary MacGill. Stevens offered intricate abstract wire sculptures—part glyph, part visual poem—that merged narrative, mathematics, and perception. MacGill debuted sterling silver and stone jewelry that expanded her signature delicate wirework into bolder, hand-formed designs inspired by modernist silversmiths such as Torun, Art Smith, Catherine Noll, and Alexander Calder. Together, their work formed a rich dialogue between material and form, honoring the handmade tradition of ornamentation.
Con Salud is a textile project rooted in Sam Crow’s connection to her grandmother’s home in Gibraltar. Inspired by the landscapes and textures of her childhood, Con Salud embraces organic, undulating forms that evoke Crow’s visits to Southern Spain. More than a brand, Con Salud is a tribute to heritage and the enduring relationship between craft and place.
Presented in collaboration with the Germantown History Department, this exhibition showcased drawings by Walter Miller (1903–1980), whose illustrations sought to preserve Palatine folklore. Central to the show was Miller’s visual retelling of the 1720 legend of Rev. Johann Friedrich Haeger, the first school teacher of East Camp and spiritual leader to the Palatine settlers. As the story goes, on Christmas Eve, Haeger was visited by the Master of Time and Space, who offered prophetic glimpses of Germantown’s future.
Germantown Art and Design Weekend presented a collection of works which straddle the line between art and design—considering the potential artfulness of essential forms: cups, vessels, tables, fixtures. At times only functional in appearance, the viewer was encouraged to look closer and consider what is “useful”. Other times, spontaneous and sculptural forms gave way to utility. This blurring between sculpture and functional object brought into question the role of use in art.
This exhibition punctuated Paula Siebra’s residency at Mendes Wood DM in Germantown, NY. During her immersive experience, Siebra connected with the region’s nature, history, and community. The resulting series of drawings and paintings were presented in an open studio format, providing visitors with an intimate setting to engage with her work and become immersed in her studio practice.
i am a Table showcased work created during Eve Brown’s 2024 Hudson Valley residency. Through furniture and domestic space, this exhibition celebrated what Eve calls “the erotic everything and magical mundane.” By exploring furniture as extensions of our bodies and scaffolding for our emotions, i am a Table invited a playful curiosity about where we end and where we begin.
Jonathan Kline’s process is deeply connected to the Black Ash woodlands that border his homestead near Trumansburg, NY. Black Ash has been used for basketry for generation, prized for its ability to separate between annual growth rings. Today, however, this species is critically endangered due to the invasive Emerald Ash Borer. Annual Layers reflected on this tradition’s uncertain future and the ecological consequences of diminishing woodlands, striving to preserve the life of these trees in a new form.