Chicago Tribune: Chuck Close at the Museum of Contemporary Art, Chicago

Legendary painter Chuck Close has spent thirty years redefining the art of portraiture by continually reshaping the way he approaches his work. He has created his large-scale "heads" with oils, acrylics, watercolors, even fingerprints.

Chuck Close orchestrates experiences for viewers by confronting them with his massive paitings of the human face which he has often created by photographing his subjects and marking a grid on the photo from which he would meticulously render every pore, follicle and wrinkle. As his career progressed, Close loosened the grid or abandoned it all together, but his process remained striclty focused on the incremental construction of a
human face.

In 1988, a blood vessel ruptured in Close's spine, paralyzing him, but he has regained enough mobility in his arms to continue his work, largely unhindered.

Close's paintings are housed in several of the world's great museums, including the Museum of Modern Art in New York and Chicago's Art Institute. A retrospective of his work continues at Chicago's Museum of Contemporary Art until September 13, 1998.

Text by Steve Duenes, Chicago Tribune

"Chuck Close"
Catalogue organized by Robert Storr (The Museum of Modern Art, New York)
on the occasion of the exhibition at the
Museum of Modern Art,New York, 02/26 - 05/26 1998 and the
Museum of Contemporary Art, Chicago 06/20 - 09/13 1998
With essay by Kirk Varnedoe, Deborah Wye and interview by Robert Storr
224 Pages, with b/w and colour illustrations, complete chronology, bibliography and exhibitions of Chuck Close
ISBN 0-87070-066-9 (clothbound)
ISBN 0-87070-067-7 (paperbound)
ISBN 0-8109-6184-9 (clothbound, Harry N. Abrams, Inc.)
outside US through Thames and Hudson, Ltd., London

Compiled by Fereshteh Daftari

The chronology is largely based on information provided with exceptional generosity by the artist in written quetionnaires and personal conversations hold during June 1997. For the early years, Judd Tully's series of unpublished interviews conducted in 1987 for the Archives of American Art, Smithsonien Institution, served as a supplementary source. All quotations in italic type are Statements by the artist and are derived from the above sources, unless otherwise indicated. The reader is referred to the exhibition history for a complete list of solo exhibitions and selected group exhibitions.

July 5: Birth of Charles Thomas Close, at home, in Monroe, Washington. Only child of Leslie Durward Close (July 11, 1903 - March 1, 1952), inventor, sheetmetal worker, and plumber, and Mildred Emma Wagner Close (October 30, 1913 - December 30, 1980), a classically trained pianist who teaches at home until 1952.

December: Family moves to Everert, Washington, where his father begins working as a civil servant in the U.S. Army Air Corps. They live in Everett until 1945.

Late fall: Father transfers to the U.S. Air Force at McCord Field in Tacoma, Washington, where he remains in civil service until his death in 1952.

Christmas: Receives an easel made by his father, who also makes him toys.

About this time his parents give him artists' oil paints ordered from a Sears Roebuck catalogue.

Begins raking instruction from a professional artist who teaches privately in her apartment. The training is academic. Studies anatomy and drawing from live models, paints still lives and landscapes. Continues with private lessons until 1951.

Spends several months of the year in bed with nephritis (a kidney disease).

March 1: Father dies.

Summer: Moves back to Everett. His mother takes a position as sales person at JC Penney department store and shortly thereafter enters civil service in thc U.S. Air Force.

Probably in 1953 his mother takes him on a visit to the Seattle Art Museum, where he sees a drip painting by Jackson Pollock on loan to the museum. "I saw, my first Jackson Pollock in the Seattle Art Museum. At first I was outraged by it. It didn't look like anything. It totally eluded whatever I thought that painting would look like. I remember feeling outraged, but later - probably even later the day - I was dribbling paint all over my canvases"

Graduates from South Junior High School. Enters Everett High School. While there he designs, builds, and paints sets for school plays and illustrates yearbooks and literary magazines.

Graduates from Everett High School. Intending to become a commercial artist, he enters Everett Junior College (now Everett Community College), which had an "excellent" aft program. As an art major he studies drawing, design, painting, sculpture, commercial art, photography, ceramics, and jewelry.

Visits "Vincent van Gogh: Paintings and Drawings", a retrospective exhibition of 155 paintings and drawings at the Seattle Art Museum, held from March 7 to April 19.

Receives an A.A. (Associate of Arts) degree from Everett Junior College. Transfers to the University of Washington in Seattle.

Exhibits the oil painting "Nostalgia No. 2" (1960) at the "46th Annual Exhibition of Northwest Artists" at the Seattle Art Museum (November 9 - December 4).

Reminiscing about his West Coast years he says: "In art school you had late bohemian, pre-beatnik. Of course pre-hippie. Sort of beatnik ... Growing up on the West Coast, we spent a lot of time in San Francisco ... in North Beach ... Kerouac and all those people were big ... In Seattle we used to go to poetry readings and heard music all the time. And a lot of jazz. Great jazz in California."

Early in the year he begins painting flags. "I guess I had seen Jasper Johns ...I got into a lot of trouble ... I saw- myself as railing against the establishment. To make art that offended." Close cuts up the American flag and then sews it back together, in the shape of a mushroom cloud, for instance, and then paints over it. "It was 'ban the bomb' kind of stuff ... vaguely against military, against nuclear - the Korean War was over. We were in the heart of the Cold War."

Summer: Visits New York for the first time before going to Norfolk, Connecticut, to attend Yale Summer School of Music and Art. In New York, finds that visits to museums and galleries are exhilarating to a "kid from Seattle used to black and white reproductions." In Norfolk, studies with Bernard Chaet, Richard Lytle, Philip Guston, Elmer Bischoff, Walter Rosenblum, and Walker Evans. Brice Marden, Vija Celmins, and David Novros are among his classmates. He takes photography, painting, drawing, and printmaking.

Fall: Returns to Seattle to finish his undergraduate work at the University of Washington.

At the end of the year exhibits flag painting at the "47th Annual Exhibition of Northwest Artists" at the Seattle Art Museum." Richard E. Fuller [ex officio Director of the museum] ... came after the jury had awarded me third prize and I think a thousand dollars and threw the painting out of the show. Some of the jurors left in protest. But I was always interested in provoking."

"Art Since 1950," an exhibition organized by Sam Hunter for the Seattle World's Fair (April 21 - October 21), is considered by Close to be a crucial event: "[It was] one of the first opportunities we had in Seattle to see not only Hofmann, but de Kooning and Pollock and all those people, but also all the Europeans, because it was a very inclusive show."

Receives B.A. in Art, magna cum laude from the University of Washington and wins highest honors.

Spring: Participates in a regional art exhibition, with Nathan Oliveira as juror, at Puyallup, near Tacoma, where again his flag painting infuriates the authorities. "I had a painting in a show in Puyallup [and] ... the American Legion literally came and chopped the door down."

In the summer he applies to the Yale University School of Art and Architecture in New Haven and is accepted. Attends Yale from September 1962 to June 1964. Studies with Bernard Chaet, Gabor Peterdi, Jack Tworkov, Al Held, Esteban Vicente, and Enrico Donati, among others. (Alex Katz and Philip Pearlstein are also on the faculty but he does not study with them; later they become significant friends of his.)

Artists who give critiques include Philip Guston, Isabel Bishop, Edwin Dickinson, and Walker Evans. Visiting artists and musicians include Robert Rauschenberg, Frank Stella, Richard Lindner, and Morton Feldman. Vincent Scully is one of several art historians with whom he studies. Among his class-mates are Brice Marden, Rackstraw Downes, Newton Harrison, Don Nice, Jennifer Bartlett, Michael Craig-Martin, Richard Serra, Nancy Graves, Janet Fish, and Kent Floeter - the last four later portrayed by Close. While at Yale he makes "pilgrimages to New York every couple of weeks." He is mostly taken by Pop art, whereas his own work at the time is indebted to Willem de Kooning and Arshile Gorky.

Receives B.F.A. with highest honors from Yale.

On a visit to New York purchases a lithograph by Roy Lichtenstein entitled Crying Girl (1963), about which he says, "I remember I bought [a] Roy Lichtenstein ... for [ten] dollars from Leo Castelli at Lichtenstein's first [sic] show. I brought it back to Yale and I was attacked unmercifully."(1)

June: Receives M.F.A. with highest honors from Yale.

Awarded Fulbright Hayes Grant to study work of Gustav Klimt and Egon Schiele in Vienna.

September. Begins one-year study at Akademie der Bildenden Künste, Vienna. Visits the Kunsthistorisches Museum on a daily basis and is especially struck by the work of Vermeer, Brueghel, Velázquez, and Arcimboldo. Travels widely in Europe, visiting Germany, Greece, Italy, France, Switzerland, Czechoslovakia, Hungary, and Yugoslavia. Sees his Yale classmates Richard Serra and Nancy Graves in Paris and later in Florence, and Kent Floeter in Barcelona. In Paris he meets Philip Glass, whom he will photograph in 1968 or 1969 and then continue to recycle the image.

June: Completes his one-year study at the Akademie.

September: After a brief stay in New York, leaves for Amherst. where he has been appointed instructor in the Department of Art at the University of Massachusetts. Continues teaching there until August of 1967. Befriends the painter John Roy and the sculptor Keith Hollingworth, two faculty members he will subsequently portray. Deborah Wye, now Chief Curator in the Department of Prints and Illustrated Books at The Museum of Modern Art, and Roberta Bernstein, currently Chair of the Art Department at the State University of New York in Albany, are two of the students at Amherst.

September: Meets his future wife, Leslie Rose, a student in his first drawing class.

About this time begins making painted constructions in shallow relief on plexiglass, which he eventually destroys. Also begins to work from found photographs and moves away from the kind of abstraction he had embarked on ever since his discovery of Pollocks painting in 1953 and from Pop-related expressionism (flag paintings).

Starts working from photographs he takes himself. Shoots black-and-white photographs of a young woman, a secretary at the University, which he uses as a basis for a reclining nude, a canvas he never completes and which is destroyed.

In his first solo exhibition at the University of Massachusetts (January 8 - February1), he shows paintings, painted relief sculptures, and drawings based on photographs of record covers and magazine illustrations. "The campus police came over there one night and took the show down." Some of the work representing male nudity (2) results in a lawsuit, about which Close says. "The ACLU and the AAUP defended me." The court case is referred to as "Charles Close versus John W. Lederle [President of the University of Massachusetts] et al."

Late August or early September: Moves to New York City. His first studio is located in SoHo. at 27 Greene Street between Canal and Grand. Lives there until the spring of 1970.

September: Begins teaching position at the School of Visual Arts in New York, where he remains on the faculty until June 1971. Teaches photography, design, drawing, and painting. Serra, his classmate at Yale, is now his colleague. Acknowledges Vito Acconci and Joseph Kosuth as influential figures at the school.

Working from pieced-together photographs he had taken in Amherst, he paints the 21-foot-long "Big Nude", which is first exhibited at the Staatliche Kunsthalle in Baden-Baden in 1994. With this work he purges his paintings of color. He uses a variety of techniques, including airbrush and traditional brushes, razor blade, and tags, to scratch, wipe out, and erase.

November: Begins work on the first of eight black-and-white airbrushed paintings of himself and friends he generically calls "heads." The first black-and-white head, "Big Self Portrait", is completed in early 1968, the last one, "Keith", in April 1970. All eight works are painted in his Greene Street studio. These paintings are based on photographs he takes of his subjects, including himself. The subsequent stages of developing the film and printing the photographs are carried out in close collaboration with professional photographers.

December 24: Marries Leslie Rose. She subsequently studies sculpture at Hunter College and later becomes a horticulturalist and landscape historian.

Around this time, he periodically helps Richard Serra move his lead Prop pieces around. Besides Philip Glass. who is Serra's assistant, a whole circle of friends is engaged in helping Serra. They include Steve Reich, Michael Snow. Tony Shafrazi, the novelist Rudy Wurlitzer, Spalding Gray, the filmmaker, Robert Fiore, and the musician and video artist Richard Landry. Close continues to assist Serra in the following year, especially with the 1969 "One Ton Prop (House of Cards)". Regarding Serra's Props, Close recalls that one of them, until recently entitled "Clothes Pin Prop" (1969), was originally named after him "Close Pin Prop".

Paints "Nancy", the second in the black-and-white head series, which portrays the artist Nancy Graves, whom he had met at Yale and who in 1965 had married Richard Serra.

On the same day, in 1968 or 1969, he photographs the composer Philip Glass, the sculptor Richard Serra, and the opera designer Bob Israel. The photographs of Phil and Bob will be frequently recycled.

Paints a portrait of Frank James, a student at the School of Visual Arts, where Close is teaching.

Walker Art Center in Minneapolis acquires his 1967-68 "Big Self-Portrait" for $1,300 directly from the artist. This marks his first sale to a museum.
Joins Bykert Gallery (24 East 81st Street, New York), which is headed by Klaus Kertess. Wanting to disassociate himself from the burgeoning style of Photorealism, Close selects Bykert because of its devotion to abstraction. Brice Marden, David Novros, and Dorothea Rockburne are among the artists represented by the gallery.

First New York group show, "Lynda Benglis, Chuck Close, David Paul, Richard van Buren," takes place at the Bykert Gallery (May 20 - June 20). "Frank" is exhibited. A review of the show, in which Close's work is reproduced, appears in the September issue of "Artforum". "Frank" is acquired by the Minneapolis Institute of Arts, his second sale to a museum.

During the year, aside from "Frank" and "Richard" (Serra), he also paints two other friends, "Joe" (Zucker) and "Phil".

December 1: "Phil" enters the collection of the Whitney Museum of American Art.

December: First participation in the Whitney Annual (December 16, 1969 - February 1, 1970). whose curators are Marcia Tucker and James Monte. Exhibits "Richard", which is acquired by the Ludwig Collection in Aachen.

Cindy Nemser publishes "An Interview with Chuck Close" in the January issue of "Artforum" and "Presenting Charles Close" in the January - February issue of "Art in America". The "Artforum" interview is the first time Charles Close is referred to as Chuck Close. The change is accidental. In his own words, "A student of mine dropped off the photos that went along with the article, just wrote in the name 'Chuck' and that was that." (3)

February 10 - March 29: Exhibits "Frank" and "Phil" at the Whitney's "22 Realists" exhibition, organized by James Monte. Close had declined twice before to participate in New Realist exhibitions. (4)

February 28 - March 28: First of four solo shows at the Bykert Gallery in New York. Exhibits "Nancy", "Bob" - a portrait he had begun in 1969 and finished in 1970 - and, most probably, "Joe" (1969). (5) Along with these paintings he also shows "Slow Pan for Bob", a 16 mm black-and-white film made with the help of Richard Landry. The camera scans, in extreme close-up, the face of Bob Israel, which at no time is seen in its entirety.

March - April: For the first time his painting is seen abroad. "Richard", which had entered the Ludwig Collection in 1969 is included in "Klischee und Antiklischee", the first exhibition at the Neue Galerie der Stadt Aachen in Aachen, Germany, a museum of contemporary art created under the patronage of Mr. and Mrs. Peter Ludwig.

April: Completes "Keith" (Hollingworth), the last of eight black-and-white portraits, in his Greene Street studio.

Spring: Moves to a loft at 101 Prince Street, where he works until 1974.

Summer: Teaches painting at the University of Washington in Seattle and meets the painter Mark Greenwold, who is also on the faculty. For the first time, he begins experimenting with the three-color process. The first works in this technique are two drawings and a watercolor of Kent Floeter. He thus brings color back to his work in a technique of color separation derived from color printing. The first painting done with the three-color process is "Kent" (1970 - 71), executed in his Prince Street studio in New York.

Fall: Begins to teach painting at New York University, where he is on the faculty until spring 1973. Ross Bleckner is one of his students.

Completes the portrait of Kent Floeter, begun in 1970, which is purchased by the Art Gallery of Ontario, Toronto. Using the same three-color process, he paints portraits of "Susan" (Austad), Joe Zucker's wife, and "Nat" (Rose), the artist's father-in-law. Working on these first three paintings he wears tinted cellophane filters over his glasses to see only the color he is spraying out of the airbrush.

Summer: Teaches at Yale Summer School of Music and Art in Norfolk, Conn.

September: First U.S. one-person museum exhibition, of nine recent works, opens at the Los Angeles County Museum of Art (September 21 - November 14). In the brochure, the artist explains his return to color and his method: "The fewest number of colors needed to construct the full chromatic range of a color photograph is three: red (magenta), blue (cyanne), and yellow. The color is applied much the same way as in the black and white paintings, but now three colors have to be applied separately. This is done in layers - one color superimposed over another - with every area of the painting having some of all three colors present in
varying densities. The relative percentage of each color controls the hue and its intensity. The relative density of the combined colors determines its value. There is no white paint used, and there is consequently no need for a palette as the paint is literally mixed on the canvas." (6)

On the occasion of his second solo exhibition at the Bykert Gallery (December 4, 1971 - January 5, 1972), where he shows two works, (7) Hilton Kramer, in his first review of Close's work, characterizes him as "a particularly gruesome practitioner of this superrealism." (8) Less than a week later, Kramer writes another review in which he proclaims, "The kind of work Mr. Close produces is interesting only as evidence of the kind of rubbish that follows in the wake of every turn in the history of taste." (9)

January: Participates in the Whitney Annual Exhibition (January 25 - March19) for the Second time. Shows "Nat" of 1971.

February 5 - March 19: Second solo exhibition in an American museum. at the Museum of Contemporary Art in Chicago. Shows eleven works.

Spring: Works in Oakland with Kathan Brown at Crown Point Press on Keith /Mezzotint, in a painting technique rarely used by twentieth-century artists. This mezzotint and the 1970 black-and-white painting of Keith are based on the same photographic image. The edition of ten is published by Parasol Press. This is the first print he had made since college and the first piece to leave the grid exposed.

June 30 - October 8: Participates in "Documenta 5" in Kassel, organized by Harald Szeemann. General theme of the exhibition revolves around the notion of "reality". Close shows three paintings, all executed in the three color process: "John", "Kent", and "Susan".

Summer: Teaches again at Yale Summer School of Music and Art along with his former teacher, Philip Guston.

Udo Kulterrnann publishes "New Realism", the first monographic attempt to come to terms with the movement. Close is included.

Early in the year, finishes "Leslie / Watercolor", the first portrait painting of his wife, which he had begun in the summer of 1972.

January 13 - February 28: Exhibits for the first time at The Museum of Modern Art, New York, in "Projects: Chuck Close/Liliana Porter." "Keith / Mezzotint", shown with its nineteen progressive proofs, is characterized in the press release as "Chuck Close's first major print, a portrait which is probably the largest mezzotint ever made." It had entered the Museum's collection in 1972.

July 15: Birth of his daughter, Georgia Molly.

[Fall]: Receives National Endowment for the Arts Fellowship grant.

Begins the airbrushed "dot" drawings, which he continues to make until 1978. The first one is titled Keith / 1.280. The number, which is included in the titles of these works, refers to the number of squares in the grid. In a painstaking process, using an airbrush, he sprays a dot in each square an average of ten times, from left to right and top to bottom.

October 20 - November 15: Third solo show at the Bykert Gallery, where dot drawings are exhibited. (10) Around the time of this show, Close is shocked to see to digitalized image of George Washington on the cover of the November issue of "Scientific American" (p. 48), which resembles his arduously airbrushed dots sprayed into the gridded squares.

February: William Dyckes publishes the article "The Photo as Subject: The Paintings and Drawings of Chuck Close." in "Arts Magazine". The issue is devoted to Superrealism. The following June, an attack on Photorealism, exempting Close, is published by Robert Hughes in the same magazine. Hughes maintains, "If Photo-Realism's relation to photography is boringly simple, its potential as drawing is frequently null. All that remains is the technique." (11)

After fourteen months of work, he completes his largest dot drawing, of Robert Elson, Leslie's school friend. This work, "Robert / l04.072", considered a painting since it is on canvas, enters The Museum of Modern Art's collection in June 1976.

Participates in numerous group exhibitions in the U.S. and abroad, including the Tokyo Biennale.

Moves from his Prince Street loft to 89 West Third Street. Stays there for the next ten years.

February 22 - April 6: Exhibits "Robert / 104.072" (12) at the "34th Biennial of Contemporary American Painting", Corcoran Gallery of Art, Washington. D.C.

Executes lithographs at Landfall Press in Chicago. First lithograph is "Keith / Four Times".

April 5-24: Last of four solo exhibitions at the Bykert Gallery. Exhibits more than twenty drawings and the painting "Robert / 104/072 which had just been on view at the Corcoran. These dot drawings are then exhibited in a traveling show which opens at the Laguna Gloria Art Museum in Austin, Texas, in June.

Summer: Purchases a house in East Hampton, which he will retain until December 1985.

Returns to three-color process painting with "Linda", a portrait of the novelist Linda Rosenkrantz Finch.

Close is included in "Super Realism": "A Critical Anthology", edited by Gregory Battcock.

Completes "Linda" (1975 - 76) after fourteen months of work. (13)

Portrays his dealer, Klaus Kertess, who had left the Bykert Gallery the previous year. Bykert closes permanently in the summer.

Included in "Drawing Now, 1955-75", a traveling group exhibition, organized by Bernice Rose, at The Museum of Modern Art (January 21 - March 21); in "Seventy-Second American Exhibition," at The Art Institute of Chicago (March 13 - May 9), organized by A. James Speyer and Anne Rorimer; and in "Modern Portraits: The Self & Others" (October 20 - November 28), with Kirk Varnedoe as curator, at Wildenstein in New York.

February 19 - April 3: Participates in the Whitney Biennial Exhibition. Shows the "Bob" series (1973), Leslie / watercolor (1972 - 73), and "Robert / 104,072" (1973-74).

Upon the invitation of Arnold Glimcher, Close joins The Pace Gallery, located at 32 East 57th Street in New York. In his first show (April 30 - June 4), he exhibits "Linda", "Klaus", "Drawing for Phil/Rubber Stamp" (1976), "Self Portrait", "Linda / Eye Series I-V", "Twelve Heads x 1154 Dots" (1977), "Self-Portrait / 6 x 1 (1977), Self-Portrait / 8 x 1" (1977), and "Klaus / 8 x 1 (1977). He also exhibits "Linda / Pastel", the first of the Pastel Series he begins working on in 1977. This exhibition prompts favorable reviews from Thomas B. Hess and Robert Hughes. (14)

June 24 - October 10: "Documenta 6" in Kassel, organized by Klaus Honnef and Evelyn Weiss under the direction of Manfred Schneckenburger, marks Close's second participation in the Documenta exhibitions. Shows "Linda" (1975 - 76), "Linda / Eye Series 1-V" (1977), and "Bob" series (1973).

Becomes intensely involved with etching, a printing technique he had studied with Gabor Peterdi at Yale. "For two and a half months I drew on the plate in my own studio. Then I took it out to Crown Point Press in California where it was etched and printed very directly. It was the antithesis of the experience I had making the mezzotint, where I sat at the printers' for two or three months building an image. checking and adjusting it.

Begins "fingerprint" drawings by inking his finger and making impressions on the gridded surface of the paper. Differences in tonality result from the varying pressure of the hand. The first application of this technique occurs with the recycled image of "Phil / Fingerprint" (1978); the last, "Leslie", dates from 1985.

December 16, 1978 - January 20, 1979: "Mark Watercolor / Unfinished" (1978) is shown in "Grids: Format and Image in 20th Century Art," a group show at The Pace Gallery. Other artists shown include Eva Hesse, Sol LeWitt, Eadweard Muybridge, and Andy Warhol.

Begins portrait of "Mark", the last painting in the three-color process, which he finishes in 1979 after fourteen months of work. The first time he had portrayed "Mark" was in 1973, a dot drawing of a gridded-off Polaroid that the subject had sent Close as a joke from Los Angeles.

January 17 - 20: Spends time in Cambridge at the invitation of Kathy Halbreich, then the director of the Hayden Gallery at MIT, to explore the possibilities offered by the Polaroid Corporation's large format 20-by-24-inch camera. He photographs himself, Kathy Halbreich, Ray Johnson, Bob Feldman, Georgia, and Leslie, among others. The studio activities take place in the context of an informal exhibition titled "Focusing on Faces". Among the images is the "Self-Portrait / Composite / Nine Parts". These Polaroids are not meant to be studies for paintings or other works but, as Close said, "It was the first time I considered myself a photographer." (16)

February 14 - April 1: Participates in the Whitney Biennial, where he shows "Self-Portrait / Pastel" (1977), "Mark / Pastel" (1977 - 78), and "Nat / Pastel" (1978).

April 18 - June 11: Three-person exhibition titled "Copie Conforme ?" at the Centre Georges Pompidou in Paris.

April 22 - June 10: His photographs are included in an exhibition "The Altered Photograph: 24 Walls, 24 Curators", at P.S. 1, Long Island City, New York.

June 28 - July 21: First European solo museum exhibition, of sixteen works, organized by Hermann Kern, opens in Munich at the Kunstraum München.

Executes "Keith / Six Drawings Series" and publishes a book consisting of a complete and a detail illustration of each drawing. Included in the series are the last fingerprint drawings to display the grid; they fully illustrate the possibilities of variations within the restricted parameters of the technique.

Begins portrait series using a 40-by-80 inch Polaroid, which he describes as room-size, located at the Museum of Fine Arts in Boston. Among the first portraits are a Self-portrait and a picture of Stanley Rosen, a salesman.

After "Mark" (1978 - 79), which was the last three-color process acrylic painting, Close takes up oil painting with a brush. His first oils are two versions of "Stanley" (small version) based on Polaroid photographs he had taken with a 20-by-24-inch camera in 1979. The second, larger version is completed in 1981.

Executes fingerprint lithographs, with Vermillion Editions in Minneapolis. First such print is "Phil / Fingerprint".

September 28 - November 10: Major retrospective, with 120 works, organized by Lisa Lyons and Martin Friedman, opens at the Walker Art Center, Minneapolis. The following year show travels to The Saint Louis Art Museum, the Museum of Contemporary Art, Chicago, and to the Whitney Museum of American Art, New York.

December 30: Mother dies.

February: Receives telephone call from a half-brother of whose existence he was unaware. This retired aerospace engineer, Martin Close, is his father's son from a previous marriage.

April 14 - June 21: Whitney Museum of American Art is the last stop of his traveling retrospective. To this venue he lends the large, recently completed version of "Stanley". The show is first reviewed by Hilton Kramer, who revises his earlier disparaging remarks about the artist and praises his development, especially in relation to "Stanley". He writes, "The marriage of painting and photography that we see in the earlier works in this retrospective have [sic] now clearly been dissolved in an amicable divorce." (17) Several other critics join in the celebration of Close's oeuvre.

Among them are John Perreault, (18) Grace Glueck, (19) Kay Larson, (20) Amei Wallach, (21) and Robert Hughes, who writes. "Close has done more to redefine the limits of portraiture than any other painter of his generation. (22)

Begins pulp-paper editioned works with Joseph Wilfer, printer and papermaker at Dieu Donné Papermill in New York, published by Pace Editions. Keith is the first subject executed in this medium in "Keith I-IV". The last pulp-paper edition is done in 1988.

Begins pulp-paper collages on canvas, a series of unique paper pieces that were the result of accidents which occurred when working with pulp-paper editions. A portrait of the artist Jud Nelson, "Jud / Collage", marks the first of the series; "Phyllis / Collage", a portrait of Phyllis Rosen, Stanley Rosen's wife, of 1983 - 84, the last.

Akron Art Museum acquires "Linda", a major painting from 1975 - 76.

Begins fingerprinting in color, the first being "John / Color Fingerprint.

January: Moves his residence to an Upper West Side apartment and his studio to 75 Spring Street.

March 24: Birth of his second daughter, Maggie Sarah, who is portrayed the same year in a fingerprint drawing.

Begins applying the fingerprint technique to painting. "Georgia / Fingerpainting" is the first work in this technique; "Georgia / Fingerpainting / White Version" (1986) is the last.

Returns to Boston and for the first time uses a 40-by-80-inch Polaroid camera to photograph nudes. These works portray neither friends nor family but mostly professional dancers, the photographer Mark Morrisroe, and others.

January 12 - February 16: Exhibition exclusively devoted to his color Polaroid prints made with a 40-by-80 inch camera takes place at Pace/ MacGill Gallery, New York.

March 1 - 30: First exhibition of paintings in a commercial gallery outside of New York is held at the Fuji Television Gallery, Tokyo.

Executes "fingerprint" etchings at Graphicstudio, University of South Florida, Tampa. "Georgia / Fingerprint" etchings are the first. (23)

January: Purchases a summer house in Bridgehampton, New York.

"Self-Portrait" is the third oil executed with a brush since the two versions of "Stanley" (1980 - 81), and the first painting in which a looser application of brushstroke is evident.

October 7 - 19: In Kyoto, works with the printer Tadashi Toda on woodblock carved by Shunzo Marsuda for Crown Point Press. "Leslie" is the artist's first color woodblock print.

September: Takes his first photographs of flowers.

"Chuck Close", the first comprehensive monograph on the artist, by Lisa Lyons and Robert Storr, is published by Rizzoli Publications.

Begins a series of portraits of well known artists such as Lucas Samaras, Alex Katz, Francesco Clemente, and Cindy Sherman. These will be exhibited the following year at The Pace Gallery.

Works with Aldo Crommelynck in New York on spit-bite aquatints of "Self-Portrait" and "Arne" (Glimcher), his dealer. (14)

In September and October has three simultaneous exhibitions at Pace / MacGill Gallery, Pace Editions, and The Pace Gallery.

For the first time in his paintings uses the profile format for the portrait of Cindy Sherman, "Cindy //". The only other profile he had made was a "fingerprint" drawing of the sculptor Jud Nelson, "Jud / Profile" (1981).

December 7: Six weeks after the closing of his shows, he is stricken with severe chest pain followed by an intense convulsion, which initially leaves him paralyzed from the neck down. He is diagnosed at the Tisch Hospital, at NYU medical center, as suffering from incomplete quadriplegia. Close refers to this episode as "an event."

After spending six weeks in intensive care at the hospital, he is transferred to the Howard A. Rusk Institute, another part of the NYU medical complex, for rehabilitation. A portrait of Elizabeth Murray, which Close completely abandoned, and "Cindy II" were the last paintings made before his hospitalization. "Alex II" is the first painting he completes at the Institute. He then begins working on "Janet" (Fish), which he finishes in Bridgehampton. He leaves the hospital in July. (25)

April 23: Receives the International Center of Photography Sixth Annual Infinity Award for Art for important use of photography in mixed media by a visual artist.

A new portrait of Elizabeth Murray, executed in his Spring Street studio in 1989, is acquired by The Museum of Modern Art. This is the first sale after his hospitalization.

January 10 - March 19: Is curator of "Artist's Choice - Chuck Close: Head-On / The Modern Portrait," an exhibition of 159 portraits drawn mostly from the permanent collection of The Museum of Modern Art, New York. The show travels to the Lannan Foundation, Los Angeles.

April 2 - June 30: "1991 Biennial" at the Whitney Museum of American Art. Exhibits "Judy" (Pfaff) (1989 - 90), "Bill" (William Wegman) (1990), and "April" (Gornik) (p. 183).

April 23: Receives 1991 Skowhegan Medal for Painting from Skowhegan School of Painting and Sculpture, Maine.

May 15: Receives Academy-Institute Award in Art from the American Academy and Institute of Arts and Letters, New York.

October 28:Testifies at Congressional hearing, conducted at the Brooklyn Museum, against stronger anti-obscenity restrictions on the National Endowment for the Arts.

November 2 - December 7: First exhibition of twelve recent paintings executed after his illness takes place at The Pace Gallery. All the subjects are New York artists.

November 15: Receives Honorary Doctor of Fine Arts degree from the Art Institute of Boston.

March: Moves his studio from Spring Street to the current site, 20 Bond Street, formerly a storefront. Instead of using a forklift as before, Close now installs a trapdoor in his studio that allows him to move his paintings on a motorized track.

May 20: Along with Elizabeth Murray and Martin Puryear is elected a member of the American Academy and Institute of Arts and Letters, New York.

May 15: Receives Honorary Doctor of Humane Letters from Skidmore College, Saratoga Springs, N. Y.

June 13 - October 10: Lends "Cindy II" to an exhibition organized by Christian Leigh, in collaboration with Pedro Almodóvar, during the "45th Venice Biennale".

Organizes a gallery of portraits, selected from the collection of The Metropolitan Museum of Art, for "Artforums's" October issue.

Appears in the role of an artist named Andy in the film version of "Six Degrees of Separation," written by John Guare and directed by Fred Schepisi.

April 10: A retrospective exhibition of thirty-nine works opens at the Staatliche Kunsthalle in Baden-Baden and travels to Munich. A catalogue is published with texts by Jochen Poetter, Helmut Friedel, Robert Storr, and Margrit Franziska Brehm.

May 22: Receives Honorary Doctor of Fine Arts from Colby College, Waterville, Maine.

"Chuck Close: Life and Work 1988-1995", by the playwright John Guare, the second monograph on the artist, is published by Thames and Hudson.

May 27: Receives Honorary Doctor of Fine Arts from the University of Massachusetts, Amherst, where he taught from 1965 to 1967.

June 10 - October 15: "Identity and Alterity: Figures of the body, 1895 - 1995," organized by Jean Clair, at the "46th Venice Biennale", "Fanny / Fingerpainting", a portrait of Fanny Leifer, and "Alex" are included.

November 5, 1995 - February 18, 1996: Exhibits five works at "1995 Carnegie International" at the Carnegie Museum of Art, Pittsburgh.

March15 - May 20: Resident artist at the American Academy in Rome.

May 27: Receives Honorary Doctor of Fine Arts from Yale University, New Haven, Connecticut.

August 23: Photographs President Bill Clinton at the White House.

October 8: "A Salute to Chuck Close," a benefit dinner inaugurating an exhibition, is organized by the Archives of American Art, Smithsonian Institution, New York.

February 14 - May 11. "Birth of the Cool: American Painters from Georgia O'Keeffe to Christopher Wool," under the curatorship of Bice Curiger, opens in Hamburg and then travels to Zürich. Four paintings, "Bill" (1990), "Joel" (Shapiro) (1993), "Kiki" (Smith) (1993), and "John II" (1993), are included.

May 7 - July 27: "Mark" is included in "Age of Modernism: Art in the 20th Century", an exhibition held at the Martin-Gropius-Bau in Berlin and organized by Christos M. Joachimides and Norman Rosenthal.

His photographs of Broadway actors appear in "Assignment: Times Square." "New York Times Magazine", May 18, 1997.

June 7: Receives 1997 RISD Honorary Doctorate from the Rhode Island School of Design. Providence.

June 12: Receives Alumnus Summa Laude Dignatus, the highest award bestowed by the University of Washington, Seattle.

1. The lithograph of 1963 was probably in Lichtenstein's second show at Castelli (September 28 - October 24, 1963) and not in the first, which took place in 1962. The amount Close paid for it was corrected from five dollars (as stated in the Judd Tully interview) to ten dollars after he read the present Chronology.

2. On the controversies generated by the exhibition and for the illustration of the painting of Bob Dylan, whose genitals were exposed, see The Massachusetts Collegian 95, no. 89 (January 16, 1967).

3. Barbaralee Diamonstein, "Chuck Close: I'm Some Kind of a Slow Motion Cornball", ARTnews 79, no. 6 (summer 1980): 114.

4. These shows were "Realism Now," a 1968 exhibition at Vassar College, and the 1969 "Directions II: Aspects of a New Realism," which opened at the Milwaukee Art Center.

5. Since the Bykert records are lost, it is difficult to pinpoint which works were exhibited in the first solo exhibitions. Reviews, such as one by John Perreault (Village Voice 15, no. 11, March 12, 1970, p. 18). mention only the number of works but not their titles. Close believes that "Joe", was included.

6. Chuck Close: Recent Work. Los Angeles County Museum of Art, September 21 - November 14, 1971, n.p.

7. The critics refer to two works, one of a male, one of a female, without identifying them. The female subject was surely "Susan" because the painting was illustrated in Hilton Kramer's review," Art Season: A New Realism Emerges," New York Times, December 21, 1971, p. 50.

8. Ibid.
9. Hilton Kramer, "Stealing the Modernist Fire:' New York Times. December 26, 1971, sec. D., p. 25.

10. John Perreault, "A New Turn of the Screw: Drawings by Chuck Close," Village Voice 18, no. 44, Number 1, 1973, p. 34.

11. Robert Hughes, "An Omnivorous and Literal Dependence:" Arts Magazine 48, no. 9 (June 1974), 29.

12. In the exhibition catalogue for this show, the painting was erroneously titled "Richard", which accounts for the inaccuracies in the exhibition reviews.

13. Barbara Cavaliere, "Arts Review: Chuck Close:' Arts Magazine 52, no. 1 (September 1977): 22.

14. Thomas B. Hess, "Up Close with Richard and Philip and Nancy and Klaus," New York 10, no. 22 (May 30, 1977): 95; and Robert Hughes, "Blowing tip the Closeup," Time 109, no. 21 (May 23, 1977): 92. Close noted, "The Hughes and the Hess reviews were the best I received." in Barbara Harshman, "An Interview with Chuck Close:" Arts Magazine no. 10 (June 1978): 145.

15. Michael Shapiro, "Changing Variables: Chuck Close & His Prints:' Print Collector's Newsletter 9, no. 3 (July - August 1978): 69.

16. Lisa Lyons and Robert Storr. Chuck Close (New York: Rizzoli International Publications, 1987), p. 38.

17. Hilton Krainer. "Chuck Close's Break with Photography" New York Times, April 19. 1981, sec. D. p. 32.

18. John Perreault "Encounters of the Close Kind," Soho News, April 29. 1981, p. 45.

19. Grace Glueck, -Artist Chuck Close: 'I Wanted to Make Images That Knock Your Socks Off," New York Times, June 10, 1981, sec. C, p. 26.

20. Kay Larson, "Art: Chuck Close," New York 14, no. 19 (May 1981): 74.

21. Amei Wallach, "Looking Closer at Chuck Close," Part 2, Newsday April 19, 1981, pp. 17-18.


22. Robert Hughes. "Close, Closer, Closest" Time 117, no. 17 (April 27. 1981): 60.

23. Chuck Close Editions: A Catalogue Raisonné and Exhibition (Youngstown, Ohio: The Butler Institute of American Art, 1989), cat.nos.38 - 41

24. Ibid., cat. no. 52.
25. For an account of Close's illness, see John Guare, Chuck Close: Life and Work, 1988 - 1995 (New York: Thames and Hudson, 1995).

An asterisk (*) indicates that the exhibition had a catalogue.

1967
Amherst, University of Massachusetts, Art Gallery. "Charles Close," January 8 - February 1.

1970
New York, Bykert Gallery "Chuck Close," February 28 - March 28.

1971
*Los Angeles, Los Angeles County Museum of Art. "Chuck Close: Recent Work",7 September 21 - November 14.

New York, Bykert Gallery. "Chuck Close: Recent Work," December 4, 1971 - January 5, 1972.

1972
*Chicago, Museum of Contemporary Art. "Chuck Close," February 5 - March 19.

1973
New York, The Museum of Modern Art. "Projects: Chuck Close / Liliana Porter," January 13 - February 28.

Akron, Ohio, Akron Art Museum. "Chuck Close: Collector's Exhibition," March 31 - May 6.

New York, Bykert Gallery. "Chuck Close: Recent Work," October 20 - November 15.

1975
Charlotte, North Carolina, Mint Museum of Art. "Chuck Close: Keith," January 5 - February 2. Traveled under different exhibition titles to the Ball State University Art Gallery, Muncie, Indiana, dates unconfirmed; Phoenix Art Museum, Phoenix, Arizona, June 1 - 29; The Minneapolis Institute of Arts, Minneapolis, July 18 - August 31.

New York, Bykert Gallery "Chuck Close," April 5 - 24.

*Austin, Texas, Laguna Gloria Art Museum. "Chuck Close: Dot Drawings, 1973 - 1975," June 17 - July 20. Traveled to the Texas Gallery, Houston, July 22 - August 16; Art Museum of South Texas, Corpus Christi, August 19 - September 20; San Francisco Museum of Modern Art, San Francisco, December 10, 1975 - January 25, 1976; The Contemporary Arts Center, Cincinnati, Ohio, February 22 - March 5 1976.

Portland, Oregon, The Portland Center for the Visual Arts. "Chuck Close: Drawings and Paintings," September 26 - October 26.

1976
Baltimore, Baltimore Museum of Art. "Chuck Close," April 6 - May 30.

1977
*New York, The Pace Gallery. "Chuck Close: Recent Work," April 30 - June 4.

Hartford, Wadsworth Atheneum. "Chuck Close, Matrix 35," November 1 1977 - January 29, 1978.

1979
Cambridge, Massachusetts, Hayden Gallery. "Focusing on Faces," January, 17 - 20.

*Munich, Kunstraum München. "Chuck Close," June 28 - July 21.

*New York, The Pace Gallery "Chuck Close: Recent Work," October 26 - November 24.

1980
*Minneapolis, Walker Art Center. "Close Portraits," September 28 - November 16,1980. Traveled to The Saint Louis Art Museum, Saint Louis, December 5, 1980 - January 25, 1981; Museum of Contemporary Art, Chicago, February 6 - March 29, 1981; Whitney Museum of American Art, New York, April 14 - June 21, 1981.

1982
Berkeley, University Art Museum. "Chuck Close: Matrix / Berkeley 50" March 3 - May 5.

Riverside, California Museum of Photography, University of California. "Chuck Close: Polaroid Portraits," May 14 - July 31.

Chicago, Richard Gray Gallery. "Chuck Close: Paperworks," September - October 1982. Traveled to John Stoller Gallery, Minneapolis, October - November 1982; Jacksonville Art Museum, Jacksonville, Florida, December 10, 1982 - January 19, 1983; Greenberg Gallery, Saint Louis, September - October 1983.

1983
*New, York, The Pace Gallery. "Chuck Close," February 25 - March 26.

1984
*Los Angeles, Herbert Palmer Gallery. "Chuck Close: Handmade Paper Editions," February 4 - March 16. Traveled to Spokane Center of Art, Cheney, Washington, April 5 - May 12, Milwaukee Art Museum, Milwaukee, June 1 - September 30; Columbia Museum of Art, Columbia, South Carolina, November 18, 1984 - January 13, 1985.

1985
New York, Pace/MacGill Gallery. "Chuck Close: Photographs," January 12 - February 16.

*Houston, Contemporary Arts Museum. "Chuck- Close: Works on Paper," February 9 - April 21.

*Tokyo, Fuji Television Gallery. "Exhibition of Chuck Close," March 1 - 30.

San Francisco, Fraenkel Gallery. "Chuck Close: Large Scale Photographs," June 26 - July 27.

1986
New, York, Pace/MacGill Gallery. "Chuck Close: Maquettes," January 9 - February 15.

New York, Pace Editions. "Chuck Close: New Etchings," February 21 - March 22.

*New York, The Pace Gallery. "Chuck Close: Recent Work," February 21 - March 22.

1987
New York, Pace/MacGill Gallery. "Chuck Close: Photographs," March 1 - May 10.

Ridgefield, Connecticut, Aldrich Museum of Contemporary Art. "Chuck Close Photographs," March 1 - May 10.

*New York, The Pace Gallery. "Chuck Close: Drawings 1974 - 1986," June 19 - July 24.

New York, Pace/MacGill Gallery. "Chuck Close: Large Scale Self-Portraits," October 15 - November 28.

1988
New York, Pace Editions. "Chuck Close: Prints and Photographs," September 23 - October 22.

*New York, The Pace Gallery. "Chuck Close, New Paintings," September 23 - October 22.

New York, Pace/MacGill Gallery. "Chuck Close: A Survey:' September 23 - October 21

Washington, D.C., Fendrick Gallery. "Chuck Close: Photographs," November 1 - December 3.

1989
*Chicago, The Art Institute of Chicago. "Chuck Close," February 4 - April 16. Traveled to The Friends of Photography, Ansel Adams Center, San Francisco, November 8, 1989 - January 7, 1990.

*Youngstown, Ohio, The Butler Institute of American Art. "Chuck Close Editions: A Catalogue Raisonné and Exhibition" September 17 - November 26.

Ridgefield, Connecticut. Aldrich Museum of Contemporary Art. "Chuck Close: Works on Paper from the Collection of Sherry Hope Mallin," October 29, 1989 - February 25, 1990.

1991
*East Hampton, New York Guild Hall of East Hampton. "Chuck Close: Up Close," June 15 - July 28.

Honolulu, The Contemporary Museum. "Chuck Close: Large Color Photographs" September 10 - November 17.

*New York, The Pace Gallery. "Chuck Close: Recent Paintings," November 2 - December 7.

1993
New York, Pace Editions. "Chuck Close Editions," March 20 - 30.

Richmond, Virginia Museum of Fine Arts. "Chuck Close: Portraits," July 21 - October 31.

New York, The Museum of Modern Art. "A Print Project by Chuck Close," July 24 - September 28.

*New York, The Pace Gallery. "Chuck Close: Recent Paintings," October 22 - November 27.

1994
*Baden-Baden, Germany, Staatliche Kunsthalle. "Chuck Close: Retrospektive," April 10 - June 22. Traveled to Lenbachhaus, Munich, July 13 - September 11 .

Taiwan, Kaohsiung Museum of Fine Arts. "Chuck Close: Visible and Invisible Portraits," June.

*Paris, Fondation Cartier pour l'art contemporain. "Chuck Close: 8 peintures récentes," September 24 - October 23.

1995
New York, Pace Editions. "Chuck Close Recent Editions: Alex-Chuck-Lucas," March 10 - April 13.

*Los Angeles, PaceWildenstein. "Chuck Close: Recent Paintings," September 28 - October 28. Traveled to PaceWildenstein, New York, December 2, 1995 - January 6, 1996.

Los Angeles, Lannan Foundation. "Chuck Close: Alex / Reduction Block," September 30, 1995 - January 7, 1996.

1996
*Chicago, The Art Institute of Chicago. "Affinities: Chuck Close and Tom Friedman," April 27 - July 28.

New York, Archives of American Art, Smithsonian Institution. "Chuck Close: A Personal Portrait. Works and Papers," October 8,1996 - January 6,1997.

New York, PaceWildenstein / MacGill. "Chuck Close: Large Scale Black and White Photographs," October 24 - November 23.

1997
Los Angeles, PaceWildenstein. "Chuck Close: Large Scale Black and White Photographs." January 24 - March 1.

1998
*New York, The Museum of Modern Art. "Chuck Close:' February 26 - May 26. Traveled to the Museum of Contemporary Art, Chicago. June 20 - September 13: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., October 15, 1998 - January 10, 1999, Seattle Art Museum, Seattle. February - May 1999.

1969
New York, Bykert Gallery. "Lynda Benglis, Chuck Close, David Paul, Richard van Buren." May 20 - June 20.

*New York, Whitney Museum of American Art. "1969 Annual Exhibition of Contemporary American Paintings,7 December 16, 1969 - February 1, 1970. Foreword by John I. H. Baur.

1970
*New York, Whitney Museum of American Art. "22 Realists," February 10 - March 29. Text by James Monte.

*Aachen. Neue Galerie der Stadt Aachen. "Klischee und Antiklischee," March - April.

Oberlin, Ohio, Allen Memorial Art Museum. "Three Young Americans," April 17 - May 12.

1971
.Düsseldorf, Städtische Kunsthalle. "Prospect '71: Projection," October 8 - 17. Texts by Konrad Fischer, Jürgen Harten, and Hans Strelow.

*Ontario, Art Gallery of Ontario. "Recent Vanguard Exhibition," December 18, 1971 - January 9, 1972. Text by Dennis Young.

1972
*New York, Whitney Museum of American Art. "Annual Exhibition: Contemporary American Painting," January 25 - March 19. Foreword by John I. H. Baur.

*New York, Sidney Janis Gallery. "Colossal Scale," March 9 - April 1.

*Aachen, Neue Galerie der Stadt Aachen. "Kunst um 1970 - Art Around 1970: Sammlung Ludwig in Aachen," June. Text by Wolfgang Becker

*Kassel, Fridericianum. "Documenta 5," June 30 - October 8. Text by Jean-Christophe Ammann.

*Paris, Galerie des Quatre Mouvements. "Hyperréalistes Américains," October 25 - November 25. Texts by Udo Kultermann and Daniel Abadie.

*Stuttgart, Württembergischer Kunstverein. "Amerikanischer Fotorealismus," November 16 - December 26. Traveled to Frankfurter Kunstverein, Frankfurt, January 6 - February 18, 1973; Kunst- und Museumsverein Wuppertal, February 25 - April 8, 1973. Text by Uwe M. Schneede.

*New York, The New York Cultural Center. "Realism Now," December 6, 1972 - January 7, 1973. Text by Mario Amaya.

1973
*Turin, Italy, Galleria Civica d'Arte Moderna. "Combattimento per un'immagine: fotografi e pittori," March - April. Texts by Daniela Palazzoli and Luigi Carluccio.

*London, Serpentine Gallery, The Arts Council. "Photo-Realism: Paintings, Sculpture and Prints from the Ludwig Collection and Others," April 4 - May 6. Text by Lawrence Alloway.

*Paris, Galerie des Quatre Mouvements. "Grands Maîtres Hyperréalistes Américains," May 23 - June 15. Traveled to 4e Salon International d'Art, Basel, June 20 - 25. Text by Salvador Dali.

*New York, Whitney Museum of American Art. "American Drawings 1963 - 1973," May 25 - July 22. Text by Elke M. Solomon.

*Hannover (Germany), Kunstverein Hannover. "Kunst nach Wirklichkeit: Ein neuer Realismus in Amerika und in Europa," December 9, 1973 - January 27, 1974. Text by Wolfgang Becker.

1974
*Helsinki, Finland, Ateneum, The Fine Arts Academy of Finland. "Ars '74," February 15 - March 31. Traveled to Tampereen Nykytaiteen Museo, Tampere, Finland, April 10 - May 12. Text by Salme Sarajas-Korte.

*Paris, Centre National d'Art Contemporain. "Hyperréalistes Américains, Réalistes Européens," February 15 - March 25. Texts by Daniel Abadie and Wolfgang Becker; reprints of texts by Pierre Restany and Jean Clair.

*Worcester, Massachusetts, Worcester Art Museum. "Three Realists: Close, Estes, Raffael," February 27 - April 7. Text by Leon Shulman.

*Tokyo, "11th Tokyo Biennale 1974," May 10 - 30. Text by Linda Chase.

*Rotterdam. Museum Boijmans-van-Beuningen. "Kijken naar de werkelijk-heid," June 1 - August 18. Text by Daniel Abadie.

*Utrecht, The Netherlands, Hedendaagse Kunst. "Amerikaans Fotorealisme: Grafiek," June 8 - August 4. Traveled to Palais des Beaux-Arts, Brussels, Belgium, September - October. Texts by Wouter Kotte and Heinz Holtmann.

*Basel. "Art 5 '74," June 19 - 24.

New York, Whitney Museum of American Art, Downtown Branch. "New Portraits," November 7 - December 12.

1975
*New York, Louis K. Meisel Gallery. "Watercolors and Drawings: American Realists," January 3 - 30. Text by Susan Pear Meisel.

*New York, Allan Frumkin Gallery. "Portrait Painting 1970 - 75," January 7 - 31. Text by G.W. Barette and Allan Frumkin.

*Washington, D.C., Corcoran Gallery of Art. "34th Biennial of Contemporary American Painting," February 22 - April 6. Text by Roy Slade.

*Philadelphia, Institute of Contemporary Art, University of Pennsylvania. "Painting, Drawing and Sculpture of the 60's and 70's from the Dorothy and Herbert Vogel Collection," October 7 - November 18. Traveled to The Contemporary Arts Center, Cincinnati, Ohio, December 17, 1975 - February 15, 1976. Text by Suzanne Delehanty.

*Middletown, Connecticut, Davison Art Center, Wesleyan University. "Recent American Etching," October 10 - November 23. Traveled to National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., January 21 - March 27, 1976. Text by Richard S. Field.

1976
*New York, The Museum of Modern Art. "Drawing Now, 1955 - 75," January 21 - March 21. Traveled to Kunsthaus Zürich, October 9 - November 14, Kunsthalle Baden-Baden, November 24, 1976 - January 16, 1977; Graphische Sammlung Albertina, Vienna, January 28 - March 6, 1977; Sonjia Henie-Niels Onstad Museum, Oslo, March 17 - April 24, 1977; The Tel-Aviv Museum, Tel Aviv, May - June 1977. Text by Bernice Rose.

*Chicago, The Art Institute of Chicago. "Seventy-Second American Exhibition," March 13 - May 9. Introduction by A. James Speyer. Text by Anne Rorimer.

*Tokyo, Seibu Museum of Art. "Three Decades of American Art Selected by the Whitney Museum of American Art," June 18 - July 20. Text by Barbara Haskell.

New Orleans. Tulane University. "Drawing Today in New York," September 2 - 23. Traveled to Rice University, Houston, October 8 - November 19; Southern Methodist University, Dallas, January 10 - February 16, 1977; University of Texas at Austin, February 27 - March 11, 1977; Oklahoma Arts Center, Oklahoma City, April 15 - May 15, 1977; Dayton Art Institute, Dayton, June 3 - August 21, 1977.

*Berlin, Nationalgalerie. "Amerikanische Druckgraphik von 1945 bis heute," September 4 - November 11. Traveled to Kunsthalle zu Kiel, Kiel, November 7 - December 30. Book: Amerikanische Kunst von 1945 bis heute: Kunst der USA in europäischen Sammlungen, edited by Dieter Honisch and Jens Christian Jensen.

*San Francisco, Daniel Weinberg Gallery. "Richard Artschwager, Chuck Close, Joe Zucker," September 14 - October 22. Traveled to La Jolla Museum of Contemporary Art, November 5 - December 5; Memorial Union Art Gallery, University of California at Davis, January 5 - 28, 1977. Preface by Richard Armstrong. Text by Catherine Kord.

*New York, Wildenstein. "Modern Portraits: The Self & Others," October 20 - November 28. Organized by Columbia University. Text by J. Kirk T. Varnedoc.

New York, Whitney Museum of American Art. "American Master Drawings and Watercolors" November 23, 1976 - January 23, 1977.

1977
*New York. Whitney Museum of American Art. "1977 Biennial Exhibition," February 19 - April .3. Text by Barbara Haskell, Marcia Tucker, and Patterson Sims.

*Paris, Centre Georges Pompidou, Musée National d'Art Moderne. "Paris - New York," June 1 - September 19. Text by K. G. Pontus Hultén et al.

Kassel, Museum Fridericianum. "Documenta 6," June 24 - October 10. Text by Manfred Schneckenburger.

*St. Paul, Minnesota Museum of Art. "American Drawings, 1927 - 1977," September 6 - October 29. Text by Paul Cummings.

*Chicago, Museum of Contemporary Art. "A View of a Decade," September 10 - November 10. Texts by Martin Friedman, Robert Pincus-Wirten, and Peter Gay.

*Ann Arbor, University of Michigan Museum of Art. "Works from the Collection of Dorothy and Herbert Vogel," November 11, 1977 - January 1, 1978. Text by Bret Waller.

[New York]. Organized by The Metropolitan Museum of Art. "Representations of America." Traveled to Pushkin Museum, Moscow, December 15, 1977 - February 15, 1978; The Hermitage, Leningrad, March 15 - May 15, 1978; Palace of Art, Minsk, June 15 - August 15, 1978.

1978
*Philadelphia. Philadelphia Museum of Art. "Eight Artists," April 29 - June 25. Text by Anne d'Harnoncourt.

*New York. Whitney - Museum of American Art. "20th Century American Drawings: Five Years of Acquisitions" July 28 - October 1, 1978. Text by Paul Cummings.

*Richmond, Anderson Gallery, Virginia Commonwealth University. "Late Twentieth-Century Art," [organized by] The Sydney and Frances Lewis Foundation. December 5, 1978 - January 8, 1979. Text by Susan L. Butler.

*Buffalo, New York, Albright Knox Gallery. "American Painting of the 1970," December 9, 1978 - January 14, 1979. Traveled to Newport Harbor Art Museum. Newport Beach, California. February 3 - March 18, 1979; The Oakland Museum. Oakland, California, April 10 - May 20, 1979; Cincinnati Art Museum, Cincinnati, July 6 - August 26. 1979; Art Museum of South Texas, Corpus Christi, September 9 - October 21, 1979. Text by Linda L. Catheart.

*New York. The Pace Gallery. "Grids: Format and Image in 20th Century Art," December 10, 1978 - January 20. 1979. Traveled to Akron Art Institute, Akron, Ohio, March 24 - May 6, 1979. Text by Rosalind Krauss.

1979
*New York. Whitney Museum of American Art. "1979 Biennial Exhibition," February 14 - April 1. Texts / Preface by Tom Armstrong. Foreword by John G. Hanhardt, Barbara Haskell, Richard Marshall, Miark Segal, and Patterson Sims.

*Paris, Centre Georges Pompidou, Musée National d'Art Moderne. "Copie Conforme?" April 18 - June 11. Reprint of interview, by Linda Chase and Ted McBurnett from Art in America, November - December 1972, and reprint of text by Kim Levin from Arts Magazine, June 1978.

Long Island City, New York, P. S. 1. "The Altered Photograph: 24 Walls, 24 Curators," April 22 - June 10.

*New York, Light Gallery. "20 x 24/ Light," October 4 - 27. Traveled to Philadelphia College of Art, Philadelphia, April 1980. Texts by Peter MacGill, Gary Metz, and JoAnn Verburg.

New York, Whitney Museum of American Art, Downtown Branch. "Artists by Artists," October 25 - November 28.

1980
*New York, The Museum of Modern Art. "Printed Art: A View of Two Decades," February 13 - April 1. Text by Riva Castleman.

*New, York, Whitney Museum of American Art. "The Figurative Tradition and the Whitney Museum of American Art: Paintings and Sculpture from the Permanent Collection," June 25 - September 28. Foreword by Tom Armstrong. Texts by Patricia Hills and Roberta K. Tarbell.

*Washington, D.C., National of Art. "The Morton G. Newmann Family Collection." August 31 - December 31. Text on "Super Realism" by Trinkett Clark.

1981
*New Haven, Connecticut, Yale University Art Gallery. "20 Artists: Yale School of Art. 1950 - 1970," January 29 - March 29. Text by Irving Sandler.

[London]. Organized by The Arts Council of Great Britain. "Photographer as Printmaker; 140 Years of Photographic Printmaking," Traveled to Ferens Art Gallery, Hull, August 5 - 30; Museum and Art Gallery. Leicester, September 16 - October 18, unconfirmed venue, October 28 - November 28; The Cooper Gallery. Barnsley, December 19, 1981 - January 17, 1982; The Photographer's Gallery. London, March 11 - April 11, 1982. Text by Gerry Badger.

*Kalamazoo, Michigan. "Super Realism from the Morton G. Neumann Family Collection," September 1 -November 1. Traveled to The Art Center, Inc., South Bend, Indiana, November 22, 1981 - January 3, 1982, Springfield Art Museum, Springfield, Missouri, January 16, 1982 - February 28, 1982; Dartmouth College Museum and Galleries, Hanover, New Hampshire, March 19 - May 2, 1982; De Cordova Museum, Lincoln, Massachusetts, May 9 - June 20, 1982; Des Moines Art Center, Des Moines, Iowa, July 6 - August 15, 1982. Text by Linda Chase.

*Philadelphia, Pennsylvania Academy of the Fine Arts. "Contemporary American Realism Since 1960," September 18 - December 13. Traveled to Virginia Museum of Fine Arts, Richmond, February 1 - March 28, 1982; The Oakland Museum, Oakland, California, May 6 - July 25, 1982; Gulbenkian Foundation Lisbon, September 10 - October 24, 1982; Salas de Exposiciones de Bellas Artes, Madrid, November 17 - December 27, 1982, Kunsthalle, Nürnberg, February 11 - April 10, 1983. Text by Frank H. Goodyear, Jr.

New York, Solomon R. Guggenheim Museum. "Seven Photorealists from New York Collections," October 6 - November 8.

*New York, Whitney Museum of American Art. "American Prints: Process and Proofs," November 25, 1981 - January 24, 1982. Text by Judith Goldman.

1982
*Paris, Galerie Isy Brachot. "Photo Réalisme: Dix ans après," January 13 - March 6.

*Hannover (Germany), Kestner-Gesellschaft. "Momentbild: Künstlerphotographie," March 5 - April 18. Text by Carl Haenlein.

Cambridge, Massachusetts, Hayden Gallery, Massachusetts Institute of Technology. "Great Big Drawings," April 3 - May 21.

New York, Leo Castelli Gallery. "Black & White," December 29, 1982 - February 9, 1983.

1983
Los Angeles, Los Angeles Center for Photographic Studies. "Photographic Visions by Martha Alf, Chuck Close, Robert Cumming, David Hockney, Robert Rauschenberg, Ed Ruscha," September 19 - October 16.

*Los Angeles, The Museum of Contemporary Art. "The First Show: Painting and Sculpture from Eight Collections, 1940 - 1980," November 20, 1983 - February 19, 1984. Texts by Julia Brown, K. G. Pontus Hultén, and Susan C. Larsen.

1984
*[New York]. Organized by the Whitney Museum of American Art. "American Art Since 1970: Painting, Sculpture, and Drawings from the Collection of the Whitney Museum of American Art," Traveled to La Jolla Museum of Contemporary Art, La Jolla, California, March 10 - April 22; Museo Tamayo, Mexico City, May 17 - July 29; North Carolina Museum of Art, Raleigh, September 29 - November 25; Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, January 12 - March 3, 1985; Center for the Fine Art, Miami, March 30 - May 26, 1985. Text by Richard Marshall.

1985
*Lausanne, Musée Cantonal des Beaux-Arts. "L'Autoportrait à l'âge de la photographie: peintres et photographes en dialogue avec leur propre image," January 18 - March 24. Traveled to Württembergischer Kunstverein, Stuttgart, April 11 - June 9. Texts by Michel Tournier, Erika Billeter, Tilman Osterwold, William Hauptman, Philippe Junod, and Roger Marcel Mayou.

*San Francisco, San Francisco Museum of Modern Art. "American Realism: Twentieth Century Drawings and Watercolors from the Glenn C. Janss Collection," November 7, 1985 - January 12, 1986. Traveled to De Cordova and Dana Museum and Park, Lincoln, Massachusetts. February, 13 - April 6, 1986, Archer M. Huntington Art Gallery, University of Texas. Austin, July 13 - September 21, 1986; May and Leigh Block Gallery, Northwestern University, Evanston, Illinois, October 23 - December 14. 1986; Williams College Museum of Art, Williamstown, Massachusetts, January 15 - March 8, 1987; Akron Art Museum. Akron, Ohio, April 9 - May 31, 1987. Madison Art Center, Madison, Wisconsin, July 26 - September 20. 1987. Text by Alvin Martin.

New York, The Museum of Modern Art. "Self-Portrait: The Photographer's Persona, 1840 - 1985," November 7, 1985 - January 7, 1986.

Cambridge, Massachusetts, Hayden Gallery, Massachusetts Institute of Technology. "Nude, Naked, Stripped," December 13, 1985 - February 2, 1986.

1986
New York. The Queens Museum. "The Real Big Picture," January 17 - March 19.

*New York. Whitney Museum of American Art at Philip Morris. "The Changing Likeness: Twentieth-Century Portrait Drawings, Selections from the Permanent Collection of the Whitney Museum of American Art," June 27 - September 4. Text by Paul Cummings.

1987
*Sarasota, Florida, The John and Mable Ringling Museum of Art. "This is not a Photograph: Twenty Years of Large Scale Photography, 1966 - 1986," March 7 - May 31. Traveled to Akron Art Museum, Akron. Ohio, October 31, 1987 - January 10, 1988; The Chrysler Museum, Norfolk, Virginia, February 26 - May 1, 1988. Texts by Joseph Jacobs and Marvin Heiferman.

*Washington, D.C., National Gallery of Art. "20th Century Drawings from the Whitney Museum of American Art," May 21- September 7. Traveled to The Cleveland Museum of Art, Cleveland, September 30 - November 8; Achenbach Foundation, California Palace of the Legion of Honor, San Francisco, March 5 - June 5, 1988; Arkansas Art Center, Little Rock, June 30 - August 28, 1988; Whitney Museum of American Art, Fairfield County, Stamford, Connecticut, November 18, 1988 - January 18, 1989; Whitney Museum of American Art at the Equitable Center, New York, February 3, 1989 - April 1, 1989. Text by Paul Cummings.

*Los Angeles, Los Angeles County Museum of Art. "Photography and Art: Interactions Since l946," June 4 - August 30, 1987. Traveled to the Museum of Art, Fort Lauderdale. Florida, October 15, 1987 - January 24, 1988; The Queens Museum Flushing, New York, February 13 - April 3, 1988; Des Moines Art Center. Iowa. May 6 - June 26, 1988. Texts by Andy Grundberg and Kathleen McCarthy Gauss.

*New York, International Center of Photography/Midtown. "Portrayals," June 12 - July 18. Traveled to Herron Gallery, Indianapolis Center for Contemporary Art, November 21 - December 19. Texts by Charles Stainback and Carol Squiers.

1988
New York. Whitney Museum of American Art at the Equitable Center. "Aldo Crommelynck: Master Prints with American Artists," August 31 - November 7, 1988.

*New York. Whitney Museum of American Art, Federal Reserve Plaza Branch. "Identity: Representations of the Self," December 14, 1988 - February 10, 1989.

1989
New York. Studio School. "Field and Frame: Meyer Shapiro's Semioties of Painting," April 7 - May 13.

New York. Pat Hearn Gallery. "Robert Bechtle, Chuck Close, Robert Cottingham, Malcolm Morley, Sigmar Polke," September 16 - October 7.

*New York, Whitney Museum of American Art. "Image World: Art and Media Culture," November 8, 1989 - February 18,1990. Texts by Marvin Heiferman and Lisa Phillips with John G. Hanhardt.

1990
*Tokyo, Fuji Television Gallery. "The 20th Anniversary" April 2 - 26.

Boston, Museum of Fine Arts. "Figuring the Body," July 28 - October 28.

1991
*New York, The Museum of Modern Art. "Artist's Choice - Chuck Close: Head On / The Modern Portrait," January 10 - March 19. Traveled to the Lannan Foundation, Los Angeles, June 25 - September 7. Foreword by Kirk Varnedoe and Artist's Statement by Chuck Close.

Humleback, Denmark, Louisiana Museum of Modern Art. "Louisiana: The New Graphics Wing," Match 3 - 31.

New York, American Academy and Institute of Arts and Letters. "Academy-Institute Invitational Exhibition of Painting & Sculpture," March 5 - 30.

*New York. Whitney Museum of American Art. "1991 Biennial Exhibition:' April 2 - June 30. Texts by Richard Marshall, Richard Armstrong, Lisa Phillips, and John G. Hanhardt.

New York. American Academy and Institute of Arts and Letters. "Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards," May 15 - June 9.

New York. Robert Miller Gallery. "Portraits on Paper." June 25 - August 2.

New York, Paula Cooper Gallery "Vito Acconci, John Baldessari, Jennifer Bartlett. Chuck Close, ...," September 7 - 28.

*[New York]. Organized by Independent Curators Incorporated. "Departures: Photography 1923 - 1990," Traveled to Iris and B. Gerald Cantor Art Gallery, College of the Holy Cross. Worcester, Massachusetts, September 12 - October 20; Denver Art Museum, Denver, Colorado. January 25 - March 22, 1992; Joslyn Art Museum, Omaha, Nebraska, April 9 - May 31. 1992; Pittsburgh Center for the Arts, Pittsburgh, Pennsylvania, July 5 - August 23, 1992; The Goldie Paley Gallery at Moore College of Art and Design, Philadelphia, Pennsylvania, September 5 - October 11, 1992, Telfair Academy of Arts and Sciences, Inc., Savannah, Georgia, January 5 - February 21, 1993. Texts by Edmund Yankov and Andy Grundberg.

*Miyagi, Japan, The Miyagi Museum of Art Sendai. "American Realism and Figurative Art 1952 - 1990," November 1 - December 23. Traveled to Sogo Museum of Art, Yokohama, January 29 - February 16, 1992; Tokushima Modern Art Museum, Tokushima, February 22 - March 29,1992; The Museum of Modern Art, Shiga, April 4 - May 17, 1992; Kochi Prefectural Museum of Folk Art, Kochi, May 23 - June 17, 1992.

1992
*New York, KunstHalle. "Psycho," April 2 - May 9. Texts by Christian Leigh. Octavio Zaya, Donald Kuspit, and Adrian Dannatt.

*Jouy-en-Josas, France, Fondation Cartier pour l'Art Contemporain. "A visage découvert," June 18 - October 4. Text by Jean de Loisy.

*Nice, France, Musée d'Art Moderne et d'Art Contemporain. "Le Portrait dans l'art contemporain, 1945-1992," July 3 - September 27. Preface by Gilbert Perlein, Texts by Claude Fournet, Hélène Deporte, Alain Buisine, Daniel Dobbels, and Gilbert Lascaux.

New York. Paul Kasmin Gallery. "The Language of Flowers," December 12, 1992 - January 16, 1993.

1993
New York. Thread Waxing Space. "I am The Enunciator." January 9 - February 27.

*Miami. Center for the Fine Arts. "Photoplay: Works from the Chase Manhattan Collection," January 10 - February 21. Traveled to Latin America from April 1993 to January 1995. Text by Lisa Phillips.

*Lyon, France, Espace Lyonnais d'Art Contemporain. "Autoportraits contemporains: Here's Looking at Me," January 29 - April 30.Text by Bernard Brunon.

New York. Midtown Payson Gallery. "Paul Cadmus: The Artist as Subject," February 4 - March 6.

Annandale-on-Hudson, New York, Richard and Marieluise Black Center for Curatorial Studies and Art in Contemporary Culture, Bard College. "Passions & Cultures: Selected Works from the Rivendell Collection, 1967 - 1991," April 4 - December 22.

*New Haven, Connecticut, Yale University ArtGallery. "Yale Collects Yale," April 30 - July 31. Edited by Sasha M. Newman and Lesley R. Baier with essay by Nicholas Fox Weber.

*New York, Jason McCoy, Inc. "Heads and Portraits: Drawings from Piero di Cosimo to Jasper Johns," May 6 - June 12. Catalogue by Kate Ganz.

New York, The Museum of Modern Art. "A Print Project by Chuck Close," July 24 - September 28.

*New York, The Drawing Center. "The Return of the Cadavre Exquis," November 6 - December 18. Traveled to Corcoran Gallery of Art, Washington, D.C., February 5 - April 10, 1994; The Santa Monica Museum of Art, July 7 - September 5, 1994; Forum for Contemporary Art, Saint Louis, September 30 - November 12, 1994; American Center, Paris, December 1994 - January 1995. Texts by Ann Philbin, Ingrid Schaffner, Charles Simic, and Mary Ann Caws.

*London, National Portrait Gallery. "The Portrait Now," November 19, 1993 - February 6, 1994. Text by Robin Gibson.

1994
*Washington, D.C., National Gallery of Art. "From Minimal to Conceptual Art: Works from the Dorothy and Herbert Vogel Collection," May 29 - November 27. Texts by John T. Paoletti and Ruth E. Fine.

New York, Richard Anderson Gallery "A Floor in a Building in Brooklyn," June 9 - July 30. Curated by Chuck Close.

*Philadelphia, Institute of Contemporary Art, University of Pennsylvania. "Face-Off: The Portrait in Recent Art," September 9 - October 30. Traveled to Joslyn Art Museum, Omaha, Nebraska, January 28 - March 19, 1995; Weatherspoon Art Gallery, University of North Carolina, Greensboro, April 9 - May 28, 1995. Texts by Melissa E. Feldman and Benjamin H. D. Buchloh.

1995
*Venice. "La Biennale di Venezia. 46 Esposizione Internazionale d'Arte. Identity and Alterity: Figures of the Body, 1895 - 1995," June 10 - October 15. Texts by Jean Clair et al.

*Houston, Museum of Fine Arts. "Art Works: The Paine Webber Collection of Contemporary Masters," July 2 - September 24. Traveled to Detroit Institute of Arts, Detroit, October 28 - December 31; Museum of Fine Arts, Boston, March 12 - June 16, 1996; The Minneapolis Institute of Arts, Minneapolis, July 7 - September 14, 1996; San Diego Museum of Art, San Diego, October 13, 1996 - January 5, 1997; Miami Museum of Art, Miami, March 15 - May 25,1997; Carnegie Museum of Art, Pittsburgh, Pennsylvania, June 18 - September 1, 1997. Book with texts by Jack D. Flam, Monique Beudert, and Jennifer Wells.

Cologne, Museum Ludwig. "Our Century;" July 8 - October 8.

*Southhampton, The Parrish Art Museum. "Face Value: American Portraits," July 22 - September 3. Traveled to Wexner Center for the Arts, Ohio State University, Columbus, March 5 - April 21, 1996. Foreword by Trudy C. Kramer. Texts by Donna De Salvo, Kenneth E. Silver, Maurice Berger, Max Kozloff, and Michele Wallace.

*Kwangju, South Korea. "Beyond the Borders: The First Kwangju International Biennale: International Exhibition of Contemporary Art," September 20 - November 20.

Los Angeles, Lannan Foundation. "Facts and Figures: Selections from the Lannan Foundation Collection," October 22, 1995 - February 26, 1996.

*Pittsburgh, Pennsylvania, Carnegie Museum of Art. "1995 Carnegie International," November 5, 1995 - February 18,1996. Text by Richard Armstrong.

1996
Taiwan, Kaohsiung Museum of Fine Arts. "Master Printers and Master Pieces," February 16 - June 2.

*Rome, American Academy in Rome. "Annual Exhibition 1996," May 24 - July 14. Text by Caroline Bruzelius.

*New York, The Museum of Modern Art. "Thinking Print: Books to Billboards, 1980 - 1995," June 19 - September 10. Text by Deborah Wye.

Toledo, Ohio, The Toledo Museum of Art. "A Decade of Giving: The Apollo Society," September 8 - December 1.

*Miami, Museum of Contemporary Art. "Painting into Photography / Photography into Painting," December 20,1996 - February 16,1997. Text by Bonnie Clearwater.


1997
*Hamburg, Deichtorhallen. "Birth of the Cool: American Painters from Georgia O'Keeffe to Christopher Wool," February 14 - May 11. Traveled to Kunsthaus Zürich, June 18 - September 7. Texts by Bice Curiger et al.

*Berlin, Martin-Gropius-Bau. "Age of Modernism: Art in the 20th Century," May 7 - July 27. Edited by Christus M. Joachimides and Norman Rosenthal.