Grace Rosario Perkins builds paintings out of family, language, and repair. Text, symbol, and bold color layer into surfaces that read like personal maps. Supported by Girlfriend Fund, Circles, Spokes, Zigzags, Rivers traces the shapes that hold a story together.

Carol Bove bends industrial steel until it looks weightless. Her sculptures fold, crush, and balance metal into forms that feel almost soft, set against bursts of color and polished surfaces. Supported by Girlfriend Fund, the Guggenheim exhibition shows just how playful heavy material can be.

Dyani White Hawk paints where two lineages meet, Lakota aesthetics and modern abstraction, until the line between them dissolves. In Love Language, bands of color, glass beads, and quill-like marks carry both heritage and geometry at once. Supported by Girlfriend Fund, her work asks whose traditions abstraction has always belonged to.

Jennie Jieun Lee treats clay like something alive, cracked, glazed, and caught mid-motion. Luteal Elements and Grooves fills The Aldrich with fragmented masks and vessels where color pools, drips, and splits along the surface. Supported by Girlfriend Fund, it turns the fragility of ceramic into a language for the body and its cycles.

Sherald paints Black life with quiet power and perfect poise. Her portraits glow from within—otherworldly yet unmistakably real. You feel the stillness, the grace, and the invitation to really see.

Semo turns sound into sculpture—massive bronze bells that you can touch, strike, and hear echo back at you. They ring with memory and presence, transforming the gallery into a shared moment of vibration.

Bhabha’s towering figures feel ancient and futuristic all at once. Rough, powerful, and oddly tender, they hold the tension of survival—scarred but standing tall.

In Seed, Rose B. Simpson presents sculpture as an act of inheritance—objects shaped by lineage, land, and the passage of time. The work moves between monument and offering, holding space for growth, memory, and the quiet persistence of Indigenous knowledge.

Simpson’s figures are soulful, grounded, and strong. Each piece feels like a person who’s seen something—made of earth, but full of spirit.

Girlfriend Fund is proud to support Loie Hollowell: Space Between, A Survey of Ten Years at The Aldrich Contemporary Art Museum — a landmark exhibition tracing a decade of the artist’s exploration of abstraction, form, and the body. Through luminous color and sculptural depth, Hollowell transforms intimate experience into radiant geometry, inviting viewers to step into the space where emotion and material meet.

Janiva Ellis turns myth, ruin, and cartoon into a charged landscape where Western painting collides with cultural collapse. In Fear Corroded Ape, unfinished canvases become alive again, asking what it means for images to resist resolution. Supported by Girlfriend Fund, the show revels in the messy, uncertain space between history and possibility.

Shechet’s sculptures are all personality—leaning, twisting, almost breathing. She lets imperfection take the lead, and the result is pure joy.

Galanin’s work is about reclamation—of story, place, and voice. Every piece dismantles the colonial gaze with precision and quiet fire.

Fifty-two voices, five decades, one throughline: power. This exhibition looks at where feminist art has been—and where it’s still boldly going.

Liz Larner’s Don’t Put It Back Like It Was reconsiders sculptural form through gesture, gravity, and time. Known for reimagining materials from clay to stainless steel, Larner transforms the familiar into meditations on tension and repair.

Pattern meets physics. Language meets form. Auerbach builds worlds where everything vibrates just slightly out of sync—and that’s the point.

Wieser builds spaces that feel sacred and playful at once—mirrors, tiles, and gold leaf that make you part of the geometry.

Sze’s installations are like living constellations—bits of paper, projection, and light suspended in motion. You don’t look at them, you wander through them.

Leslie Hewitt in collaboration with Bradford Young, Stills, 2016, installation view, Collective Stance, SculptureCenter, 2016. Three synchronized video projections