An installation by Helen Pashgian that demands to be experienced in person. Currently on view in 鈥淟ight, Space, and the Shape of Time鈥 at the Albuquerque Museum.
Works by Indigenous artists Neal Ambrose-Smith, left, and Michael Namingha, right, near the entrance to the exhibition "Light, Space, and the Shape of Time" at the Albuquerque Museum.
鈥淵upkoyvi 6,鈥 Michael Namingha, 2024. Namingha鈥檚 work suggests an Indigenous prehistory to Light and Space investigations dating back 1,000 years or more.
Larry Bell's "The Cat" (foreground) on view in the Albuquerque Museum's current exhibition, "Light, Space, and the Shape of Time."
Courtesy of the Albuquerque Museum
An installation by Helen Pashgian that demands to be experienced in person. Currently on view in 鈥淟ight, Space, and the Shape of Time鈥 at the Albuquerque Museum.
20250509-venue-v08light
Courtesy of the Albuquerque Museum
鈥淯nwoven Light鈥 (detail), Soo Sunny Park, 2013, on view at the Albuquerque Museum.
Courtesy of the Albuquerque Museum
Works by Indigenous artists Neal Ambrose-Smith, left, and Michael Namingha, right, near the entrance to the exhibition "Light, Space, and the Shape of Time" at the Albuquerque Museum.
Courtesy of the Albuquerque Museum
Works by Leo Villareal, left, and Jenny Holzer, right, on view in 鈥淟ight, Space, and the Shape of Time鈥 at the Albuquerque Museum.
Courtesy of the Albuquerque Museum
鈥淵upkoyvi 6,鈥 Michael Namingha, 2024. Namingha鈥檚 work suggests an Indigenous prehistory to Light and Space investigations dating back 1,000 years or more.
Courtesy of the Albuquerque Museum
"Untitled (Remnant)," Barbara Bock, c. 1970s, on view at the Albuquerque Museum.
The Albuquerque Museum鈥檚 鈥淟ight, Space, and the Shape of Time,鈥 takes an art movement associated with the clean lines and shiny surfaces of postwar Los Angeles architecture and turns it inside-out, showing how generations of Light and Space-inspired artists, including women and Indigenous artists, have used this seemingly cold, prefab language to communicate personal and historical truths.
Near the entrance of the exhibition, a green and orange photocollage by Michael Namingha (Tewa/Hopi) depicts the ruins of a Chaco Canyon great house, whose ancient builders positioned the structure to light up during astronomically significant events, such as solstices. In the context of this show, Namingha鈥檚 image serves as a reminder that the desire to make light visible in a prescribed geometric configuration predates the Light and Space movement by at least a thousand years.
Albuquerque Museum show rewrites the Light and Space narrative
Works by Indigenous artists Neal Ambrose-Smith, left, and Michael Namingha, right, near the entrance to the exhibition "Light, Space, and the Shape of Time" at the Albuquerque Museum.
Courtesy of the Albuquerque Museum
"Untitled (Remnant)," Barbara Bock, c. 1970s, on view at the Albuquerque Museum.
Courtesy of the Albuquerque Museum
An installation by Helen Pashgian that demands to be experienced in person. Currently on view in 鈥淟ight, Space, and the Shape of Time鈥 at the Albuquerque Museum.
20250509-venue-v08light
Courtesy of the Albuquerque Museum
鈥淵upkoyvi 6,鈥 Michael Namingha, 2024. Namingha鈥檚 work suggests an Indigenous prehistory to Light and Space investigations dating back 1,000 years or more.
Courtesy of the Albuquerque Museum
Larry Bell's "The Cat" (foreground) on view in the Albuquerque Museum's current exhibition, "Light, Space, and the Shape of Time."
Courtesy of the Albuquerque Museum
Works by Leo Villareal, left, and Jenny Holzer, right, on view in 鈥淟ight, Space, and the Shape of Time鈥 at the Albuquerque Museum.
Courtesy of the Albuquerque Museum
鈥淯nwoven Light鈥 (detail), Soo Sunny Park, 2013, on view at the Albuquerque Museum.
