2025 Annual Exhibition

Organized by Timo Kappeller, this exhibition stretches over 35 rooms and the surrounding grounds of the former Ockawamick School in Claverack, NY, newly revived as a dynamic venue for contemporary art. As in the 2024 edition, The Campus seeks to build community and foster dialogue in upstate New York, and many of the included artists have ties to the region. Performances and programming will be scheduled throughout the run of the exhibition. 

A diverse group of artists has been invited to respond to the spatial rhythm of the site and layer new meaning atop existing associations and touchstones. Thirty solo and duo full-room  installations anchor the show alongside focused group presentations of painting, photography and ceramics. These site-responsive activations, recently created artworks, and historical reevaluations were developed through a yearlong process-led and artist-driven curatorial strategy. Rather than situating these works within a thematic framework, The Campus functions as a platform for expansive thought and free-ranging artistic expression.

Selected highlights: 

Vivian Suter’s unstretched canvases — marked by weather, debris, and the conditions of her open-air studio in Guatemala — will be on view in the gym, extending her ongoing dialogue with the natural environment, together with a major installation of Liz Magor’s emotive sculptures, which employ forgotten and discarded objects.

Recent large-scale paintings by Rita Ackermann take earlier work as a starting point to reexamine a scene from multiple angles. Relationships between bodies of work, camera and picture plane, and abstraction and figuration are layered in a state of continual flux.

Corydon Cowansage’s murals and paintings suffuse a former classroom with hypnotic color and sensual shapes, straddling the space between biological and botanical imagery. 

Rarely seen sculptures by Ming Fay explore the symbolic resonance, shape, color, and texture of fruits, seeds, seashells, and other nature-inspired hybrid forms—enlarged to invite both encounter with and appreciation of the natural world.

Katharina Grosse, known for large-scale site interventions, has conceived two adjoining silk-draped rooms in visual dialogue with mirrored works by Daniel Buren and improvisational sculptures by Arlene Shechet. 

Exploring the unknowability of his own body, Naotaka Hiro presents a bronze sculpture along with a pair of new paintings—maps of a body’s workings as it grapples with the painting’s surface from above and below.

Char Jeré’s layered installation draws on Afro-fractalist theory, her own autobiography, and a background in data analytics to examine the ways in which the built networks of our world enact a complicated relationship between race and technology. 

A group of vibrant soft sculptures by Marta Minujín epitomize her ongoing pursuit of a radically dynamic and temporal art, implicating the body of the artist, the viewer, and the body politic.

Naudline Pierre debuts new paintings and works on paper in a large former classroom, inviting viewers to step into her immersive and otherworldly landscapes that situate personal mythology and transcendent intimacy alongside canonical narratives of devotion.

Dana Schutz and Ryan Johnson—partners in life and studio—present an exchange between their practices, combining Schutz’s paintings with Johnson’s sculptural forms in a spirited interplay.

Kiki Smith’s dreamlike photographs, sculptures, and textile works illustrate a multifaceted reflection on how the literal and symbolic meanings of light and sight affect the human condition. 

A compelling group of sculptural wooden wall works by Richard Tuttle, recently made in New Mexico and on view for the first time, offer insight into the artist's ongoing investigation of material and form.

An immersive, museological display by Francis Upritchard features sculpture and works on paper that tread the line between realism and fantasy, fusing her idiosyncratic blend of references from literature, ancient sculptures, burial grounds, science fiction, folklore, miniatures, and frescoes.

Participating artists include:

Rita Ackermann, Lisa Alvarado, Jean Arp, Tauba Auerbach, Trisha Baga, Ranti Bam, Ernie Barnes, Huma Bhabha, Blinn & Lambert, Katherine Bradford, Daniel Buren, William Copley, Corydon Cowansage, Sarah Crowner, Carmen D’Apollonio, Michael Dean, Mark Dion, Hadi Falapishi, Monir Shahroudy Farmanfarmaian, Ming Fay, Jason Fox, Magdalena Suarez Frimkess, Vanessa German, Ann Gillen, Jan Groover, Katharina Grosse, Nicolás Guagnini, Daniel Guzmán, Maren Hassinger, Cynthia Hawkins, Paula Hayes, Lena Henke, Naotaka Hiro, Marcus Jahmal, Xylor Jane, Ann Veronica Janssens, Char Jeré, Ryan Johnson, Allison Katz, Byron Kim, Zak Kitnick, Andrew Kuo, Alicja Kwade, Dr. Lakra, Jim Lambie, Liz Larner, Margaret Lee, Fernand Léger, Richard Long, Liz Magor, Sylvia plimack Mangold, Marta Minujín, Oscar Murillo, Aliza Nisenbaum, Mary Obering, Virginia Overton, Paul Pfeiffer, Naudline Pierre, Charles E. Porter, Nancy Rubins, Dana Schutz, Nancy Shaver with Wolf, Arlene Shechet, Dana Sherwood, Elias Sime, Skuja Braden, Kiki Smith, Monika Sosnowska, Vivian Suter, Toshiko Takaezu, Cynthia Talmadge, Richard Tuttle, Francis Upritchard, Nari Ward, Lawrence Weiner, Jordan Wolfson, Stanley Wolukau-Wanambwa, Molly Zuckerman-Hartung.

The Campus is owned and operated by a consortium of six galleries: Bortolami, James Cohan, kaufmann repetto, Anton Kern, Andrew Kreps, and kurimanzutto. The exhibition is curated by Timo Kappeller, Artistic Director of The Campus. Curatorial team: Jesse Willenbring and Shira Schwarz. Embracing a collaborative model, the galleries have turned an abandoned former school building into a platform for cultural exchange. 

We are proud to host Kure Coffee onsite in the bookstore for the duration of the exhibition. They will serve coffee and light bites. 

The Campus would like to acknowledge Artlogic as the lead sponsor for the second annual exhibition and express their gratitude for Artlogic’s ongoing generous support.