RENÉE GREEN

Constellating historical, reconfigured, and newly commissioned work in the nexus of Dia Beacon’s floor plan, the two expansive central galleries and the perpendicular corridor, this chronologically defiant presentation aptly stages the artist’s practice in contact and context with influential figures key to Dia’s history and Green’s formation. Foundational multimedia installations that critically reconsider art-historical genres of site, landscape, and Land art return to view in the United States for the first time in over three decades. Reunited in its entirety at Dia, Green’s Color series from the early 1990s examines how color functions as a tool for categorization; an arbitrary and socially coded value system; and an efficacious perceptual and spatial device for the artist’s poetic imaginings. Engaging both the walls and the ceiling, Green suspends a new series of vibrant, text-based banners, or Space Poems, along the corridors’ linear expanse, complemented by a new body of wall-mounted variations in enamel. Similarly, new hybrid configurations of the artist’s Bichos—multicolored, modular, geometric units for viewing and listening—will be distributed throughout the galleries, functioning as provisional media architectures featuring selections from Green’s compendium of moving-image and sound works.

Renée Green: The Equator Has Moved is curated by Jordan Carter, curator and co–department head, with Ella den Elzen, curatorial assistant.

Renée Green: The Equator Has Moved is made possible by major support from Teiger Foundation and Terra Foundation for American Art. Significant support by the Andy Warhol Foundation, Every Page Foundation, and Girlfriend Fund. Generous support by the Jacques and Natasha Gelman Foundation and the National Endowment for the Arts. Additional support by Philip E. Aarons and Shelley Fox Aarons, Miyoung Lee and Neil Simpkins, and the David Schwartz Foundation, Inc.

All exhibitions at Dia are made possible by the Economou Exhibition Fund.