1975 M.A. in Art History, Case Western Reserve University, Cleveland, OH
\nThesis: “Social Consciousness in New Deal Murals”
\n1966-67 Post-diploma year, Hornsey College of Art, London, England
\n1965-66 Max Beckmann Memorial Scholarship in Sculpture, Brooklyn Museum School of Art
\n1965 A.B. in Art (departmental honors), Adelphi University, Garden City, NY<\/p>\n
Employment Scholarships, fellowships, awards and grants<\/p>\n 2026 Lifetime Achievement Award, Hamptons Fine Art Fair Institutional awards and grants (as project director)<\/p>\n National Endowment for the Arts, National Endowment for the Humanities, Institute of Museum and Library Services, Save America\u2019s Treasures, New York State Council on the Arts, New York Council for the Humanities, New York State Environmental Protection Fund, New York State Natural Heritage Trust, Suffolk County Office of Cultural Affairs, Town of East Hampton, The Pollock-Krasner Foundation, Andy Warhol Foundation for the Visual Arts, Eugene V. and Clare E. Thaw Charitable Trust, Hand Hollow Foundation, Horace W. Goldsmith Foundation, Helena Rubinstein Foundation, Graham Foundation for Advanced Studies in the Fine Arts, Gladys Krieble Delmas Foundation, Florence Gould Foundation, Herman Goldman Foundation, Judith Rothschild Foundation, Ronald and Jo Carole Lauder Foundation, Singer Foundation, Arts & Business Council, Grow Group, Inc., Time Warner, Inc. Republic National Bank, N.A., JP Morgan Chase, Smith Barney Citygroup.<\/p>\n Professional affiliations<\/p>\n President, Board of Directors, Arts Center at Duck Creek Consulting<\/p>\n 2014-present\u00a0 East Hampton Town Property Management Committee Publications Books<\/p>\n A Fair Corpse.<\/em> Level Best Books, 2026 Book chapters and exhibition catalogues (selected)<\/p>\n “‘I had to paint it.’ Early Efforts to Interpret Pollock’s Work,” Jackson Pollock: Les premi\u00e8rs ann\u00e9es.<\/em> Mus\u00e9e Picasso, Paris, 2024 Journal articles and essays<\/p>\n Introduction, In the Footsteps of Jackson Pollock: a Dialogue Across Time and Space, <\/em>Yunjian Art Museum, Shanghai, 2025 Exhibitions organized (selected)<\/p>\n 2023 Lee Krasner: Portrait in Green,<\/em> Pollock-Krasner House and Study Center Lectures, panels and symposia (selected)<\/p>\n 2026 Techspressionism Salon 104: history, theory, connectivity, online\u00a0 panel Television and radio appearances and podcasts (selected) 2025 “Malen ohne Regeln \u2013 Amerikanische K\u00fcnstlerinnen der Nachkriegszeit,” Arte TV, Germany Teaching experience<\/p>\n 1994 ARH 342, Twentieth Century Art, Stony Brook University Exhibitions of artwork<\/p>\n 2010 \u201cRay Johnson and a Book About Death,\u201d Hillwood Art Museum, C.W. Post Campus, Education 1975 M.A. in Art History, Case Western Reserve University, Cleveland, OH Thesis: “Social Consciousness in New Deal Murals” 1966-67 Post-diploma year, Hornsey College of Art, London, England 1965-66 Max Beckmann Memorial Scholarship in Sculpture, Brooklyn Museum School of Art 1965 A.B. in Art (departmental honors), Adelphi University, Garden City, NY Employment 1990-2024 Director, Pollock-Krasner … Continue reading Helen’s CV<\/span>
\n1990-2024 Director, Pollock-Krasner House and Study Center, East Hampton, NY
\nAdjunct Instructor, Department of Art, Stony Brook University
\n2010-2020 Art columnist, The Sag Harbor Express,<\/em> Sag Harbor, NY
\n2004-09 Visual arts commentator, “In the Morning,” WLIU Public Radio, Southampton, NY
\n1982-90 Curator, Guild Hall Museum, East Hampton, NY
\n1980-82 Executive Director, Public Art Preservation Committee, New York, NY
\n1979-81, 1987-89 Guest Curator, The Queens Museum, Flushing, NY
\n1978-2006 Art critic and feature writer on art, The New York Times<\/em> Long Island section
\n1977-78 Curator, The Parrish Art Museum, Southampton, NY
\n1975-77 Freelance exhibition organizer and researcher<\/p>\n
\n2021 Chancellor’s Award for Excellence in Professional Service, Stony Brook University
\n2019 Benjamin Franklin Gold Award, Fiction\/Mystery & Suspense, Independent Book Publishers Association
\n2007 Arts Broadcasting, Press Club of Long Island
\n1996 Scholarship for Publication grant, Society for the Preservation of American Modernists
\n1994 United University Professions scholarship, Center for Museum Studies, Smithsonian Institution, Washington, DC
\n1987 First Place, Art Criticism, Press Club of Long Island
\n1986 Academy of Distinction, Adelphi University Alumni Association
\nFirst Place, Arts Reporting, Press Club of Long Island
\n1974 Graduate Tuition Scholarship, Case Western Reserve University
\n1965 A. Conger Goodyear Award for Excellence in Graphics, Adelphi University
\nMax Beckmann Memorial Scholarship, Brooklyn Museum School of Art<\/p>\n
\nBoard of Directors, Larry Rivers Foundation
\nExecutive Committee, Historic Artists\u2019 Homes and Studios, National Trust for Historic Preservation
\nMystery Writers of America
\nAssociation International des Critiques d’Art (American section)
\nCommunity Arts Panel, Art-in-Architecture Program, United States General Services Administration, 1997-99
\nEditor, Association of Historians of American Art Newsletter, 1994-98
\nRegional Advisory Committee, Archives of American Art, Smithsonian Institution, 1992-96
\nVisual Arts Review Panel, Thayer Fellowships in the Arts, SUNY, 1991-93<\/p>\n
\n2012-24\u00a0 Advisory Committee, Andy Warhol Preserve Artist Residency, The Nature Conservancy
\n2012-14 Advisory Committee, Arts for Transit, New York Metropolitan Transportation Authority
\n2010 Chesterwood Strategic Planning Committee, National Trust for Historic Preservation
\n1997 PhotoAssist, Washington, DC (for “Celebrate the Century” stamp design program, United States\u00a0Postal Service)
\n1995 Charles Burchfield studio installation, Burchfield-Penney Art Center, Buffalo State College,\u00a0Buffalo, NY;\u00a0Centennial Planning Committee, Parrish Art Museum, Southampton, NY
\n1994 Consultant curator, “Power and Patronage: State-Sponsored Art in the 1930s,” Parrish Art Museum, Southampton, NY; Review panel, Metropolitan Transportation Authority Arts for Transit, New York, NY
\n1991 Consultant historian, The Great Depression, Blackside, Inc. Film and Television Productions, Boston, MA
\n1987 Visiting critic, Oklahoma Arts Institute, Quartz Mountain, OK
\n1984 Consultant historian and on-camera interviewee, “Come to the Fairs,” episode of A Walk Through the Twentieth Century with Bill Moyers, Corporation for Education and Learning, Inc., New York, NY (for WNET Channel 13)
\n1983 Consultant historian to Hardesty & Hanover, Inc., Structural Engineers, researching the history of the Parachute Jump, Coney Island, NY
\n1982 Research consultant, World of Tomorrow, An American Portrait Productions, New York, NY
\n1981 Consultant exhibition planner, Institute for the Federal Theatre Project and New Deal Culture, George Mason University, Fairfax, VA; Multimedia installation on world’s fair history, prototype pavilion, 1982 Knoxville World’s Fair<\/p>\n
\nNOTE: this listing does not include more than 1,000 weekly and bimonthly art reviews and feature
\narticles for The New York Times<\/em> Long Island section, or monthly “Eye on Art” art columns for the Sag Harbor Express.<\/p>\n
\nA Willful Corpse.<\/em> Level Best Books, 2025
\nWhere the Bodies Are Buried: An Anecdotal Memoir.<\/em> GPG, 2024
\nAn Elegant Corpse. <\/em>Amazon KDP, 2023
\nGuild Hall for All. <\/em>Delmonico Books, 2021. Co-editor and introduction.
\nAn Artful Corpse. <\/em>Poisoned Pen Press, 2021.
\nAn Accidental Corpse.<\/em> Dunemere Books, 2018\/Poisoned Pen Press, 2020.
\nAn Exquisite Corpse.<\/em> Mira Digital, 2016\/Poisoned Pen Press, 2020.
\nJackson Pollock. <\/em>London and New York: Phaidon Press, 2014.
\nSubject Matter of the Artist: Writings by Robert Goodnough, 1950-1965.<\/em>\u00a0Chicago: Soberscove Press, 2013. Editor and introduction.
\nThe Jackson Pollock Box.<\/em> Kennebunkport, ME: Cider Mill Press \/ Simon & Schuster, 2010.
\nHamptons Bohemia: Two Centuries of Artists and Writers on the Beach <\/em> (with Constance Ayers Denne). San Francisco: Chronicle Books, 2002.
\nSuch Desperate Joy: Imagining Jackson Pollock. <\/em> New York: Thunder\u2019s Mouth Press, 2000.
\nThe American Art Book.<\/em> London and New York: Phaidon Press, 1999. 110 entries.
\nLarry Rivers.<\/em> New York: Harper & Row, 1984.
\nDawn of a New Day: The New York World’s Fair, 1939\/40.<\/em> New York: New York University Press\/The Queens Museum, 1980. General editor, author of \u201cThe Fair Perceived,\u201d and all entries.<\/p>\n
\n“Abstract Expressionism Behind the Iron Curtain,” Romul Nutiu: Dynamic Universe. <\/em>Bucharest: Joana Grevers Foundation, 2022
\n“<\/em>Murtic’s New York 1951,” Projekt Murtic 100. <\/em>Zagreb: Croatian Association of Fine Arts, 2021.
\n“Caveat Mutuor: A Cautionary Tale,” To Give and To Receive: A Handbook on Collection Gifts and Donations for Museums and Donors, <\/em>Lanham, MD: Rowman & Littlefield, 2020.
\n<\/em>“New York School Women Rising,” Heroines of Abstract Expressionism, <\/em>Cooperstown, NY: Fenimore Art Museum, 2019.
\n“Las Influencias Hispanicas en Jackson Pollock,” La Energia Visible Jackson Pollock. Una Antologia.<\/em> Museo Picasso Malaga, 2016.
\n“Jackson Pollock,”\u00a0pen to paper: Artists’ Handwritten Letters.<\/em>\u00a0Princeton Architectural Press, 2016.
\n“The New York City Building: The Museum That Shouldn’t Have Been,” in a volume commemorating the building’s renovation by The Queens Museum, forthcoming.
\nLarry Rivers: Collaborations and Appropriations.<\/em> University Art Gallery, Stony Brook University, 2012.
\n“Life and Work are One,” Jackson Pollock: A Centennial Retrospective.<\/em> Tokyo: The Yomiuri Shimbun, 2011.
\n“American Art in the Nineteen Thirties,” 1930s: Art in America.<\/em> Hempstead, NY: David Filderman Gallery, Hofstra University, 2011.
\n\u201cBeyond the Border are Possibilities,\u201d Ary Stillman: From Impressionism to Abstract Expressionism.<\/em> London\/New York: Merrell Publishers Ltd., 2008.
\n“Perle Fine: The Storm Departs,” Perle Fine. <\/em>Chicago: McCormick Gallery, 2007.
\n\u201cUnveiling the Image,\u201d Paul Jenkins in the Fifties: Space, Color, and Light.<\/em> D. Wigmore Fine Art, 2007.
\n“The Birth of Abstract Expressionism,” Abstract Expressionism: The International Context.<\/em> New Brunswick, NJ: Rutgers University Press, 2007.
\n\u201cArthur G. Dove,\u201d To Conserve a Legacy: American Art from Historically Black Colleges and Universities. <\/em> Cambridge: MIT Press, 1999.
\n\u201cBetty Parsons in Context,\u201d Shaping a Generation: The Art and Artists of Betty Parsons. <\/em>Heckscher Museum of Art, Huntington, NY, 1998.
\nJackson Pollock: Prints.<\/em> Dallas: Southern Methodist University, 1997.
\n“possibilities 1947 \/ 1997,” new possibilities \/ 1997. Stony Brook, NY: University Art Gallery, 1997.
\n“An Introduction to the Art and Artists of Queens,” Queens Artists: Highlights of the 20th Century.<\/em> Flushing, NY: Queens Museum of Art, 1997.
\n“A Collection in Focus,” Beacon Hill Fine Art Celebrates Twenty Years of Collecting by the Federal Reserve Board. New York: Beacon Hill Fine Art, 1996.
\n“Toba Tucker’s Truth,” Heber Springs Portraits: Continuity and Change in the World Disfarmer Photographed. <\/em> Albuquerque: University of New Mexico Press, 1996.
\n“Alfonso Angel Ossorio y Yangco, Yellow Couple,” In Celebration of Twenty Years of Collecting Art at the Federal Reserve Board.<\/em> Washington, DC: Board of Governors of the Federal Reserve System, 1996.
\nSilkscreen: Arnold Hofmann Jr. and the Art of the Print.<\/em> Stony Brook: The Museums at Stony Brook, 1995.
\nColor Rhythm: The Late Watercolors of Joseph Meert.<\/em> East Hampton, NY: Pollock-Krasner House and Study Center, 1994.
\n“Witness to Imminent Drama: Elaine de Kooning and the New York School,” Elaine de Kooning.<\/em> Board of Governors of the Federal Reserve System, 1994, pp. 5-13.
\nAtelier 17 and the New York Avant-Garde, 1940-1955.<\/em> East Hampton, NY: Pollock-Krasner House and Study Center, 1993.
\n“Elaine de Kooning: The Early Years,” Elaine de Kooning.<\/em> Athens, GA: University Art Museum, 1992, pp. 23-31.
\nAlfonso Ossorio: The Victorias Drawings.<\/em> East Hampton: Pollock-Krasner House and Study Center, 1991.
\nA Day with Jackson and Lee: Photographs by Hans Namuth. <\/em> East Hampton, NY: Pollock-Krasner House and Study Center, 1991.
\n“A Sign of the Times,” East Hampton Avant-garde: A Salute to the Signa Gallery.<\/em> East Hampton, NY: Guild Hall Museum, 1990, pp. 13-19.
\nCo-author, En Plein Air: The Art Colonies of East Hampton and Old Lyme, 1880-1930.<\/em> Guild Hall Museum \/ Florence Griswold Museum, 1989.
\n“Art for the Millions, or Art for the Market?,” Remembering the Future: The New York World’s Fair from 1939 to 1964. <\/em> New York: Rizzoli International, 1989, pp. 137-165.
\n“1988,” Art of Our Century: The Chronicle of Western Art, 1900 to the Present. New York: Simon & Schuster, 1989, pp. 828-837.
\n“Remembering ‘The World of Tomorrow’,” Beyond Tomorrow: South Carolina Art and the 1939 New York World’s Fair.<\/em> Columbia: South Carolina State Museum, 1989, n.p.
\n“Style and Substance in New Deal Graphics,” Women Artists of the New Deal Era.<\/em> Washington, DC: National Museum of Women in the Arts, 1988, pp. 7-13.
\nIbram Lassaw: Space Explorations, 1929-1988.<\/em> East Hampton, NY: Guild Hall Museum, 1988.
\n“Larry Rivers and the Search for a Sound Basis,” The Figurative Fifties: New York Figurative Expressionism. <\/em> Newport Harbor, CA: Newport Harbor Art Museum, 1988, pp. 142-148.
\nCo-author, Crosscurrents: An Exchange Exhibition Between Guild Hall Museum and the Provincetown Art Association and Museum.<\/em> Guild Hall Museum\/Provincetown Art Association and Museum, 1986.
\nThe Intimate Eye: Photographs by Dorothy Norman.<\/em> East Hampton, NY: Guild Hall Museum, 1986.
\n“The Cooperative Impulse,” Long Island’s Alternative Spaces.<\/em> East Islip, NY: Islip Art Museum, 1985.
\n“Look Ma, I’m Dancing” and “A Conversation with Kenneth Koch,” Larry Rivers: Performing for the Family.<\/em> East Hampton, NY: Guild Hall Museum, 1983, pp. 5-12.
\n“In Praise of Eccentricity,” Eccentric Landmarks of Suffolk County.<\/em> East Islip: Islip Art Museum, 1983.
\nNicolai Cikovsky.<\/em> Southampton, NY: Parrish Art Museum, 1980.
\nDavid Burliuk: Years of Transition, 1910-1930. <\/em> Southampton, NY: Parrish Art Museum, 1978.
\n“Toward a ‘Fit Plastic Language’: Six Muralists at the New York World’s Fair,” Art for the People: New Deal Murals on Long Island.<\/em> Hempstead, NY: Emily Lowe Gallery, Hofstra University, 1978, pp. 19-25.
\nFairfield Porter’s Maine.<\/em> Southampton, NY: Parrish Art Museum, 1977.
\nTwentieth Century American Paintings from the Metropolitan Museum of Art.<\/em> Southampton, NY: Parrish Art Museum, 1977.
\nCo-author, Seven American Women: The Depression Decade.<\/em> Poughkeepsie, NY: Vassar College Art Gallery, 1976.
\nCo-author, Tom Barrett: Portrait of Poughkeepsie.<\/em> Poughkeepsie, NY: Duchess County Art Association, 1977.
\n“Murals, Mural Sketches and Easel Paintings,” Federal Art in Cleveland, 1933-1943.<\/em> Cleveland, OH: Cleveland Public Library, 1974.<\/p>\n
\n“Jackson Pollock,” 1<\/em>50 Stories: Lives of the Artists at the League,<\/em> Art Students League, 2025
\n<\/span>“Pollock: Blake’s 1949 Museum Design,” Art & Architecture Quarterly: One,<\/em> 2012-13, www.aaqeastend.com
\n“de Kooning: A Retrospective,” Provincetown Arts, <\/em>2012-13.
\n<\/em>“Pollock at 100,” Voyeur,\u00a0<\/em><\/em>Summer 2012.
\n<\/em>Biographical essays on Jackson Pollock and Lee Krasner, Encyclopedia of New York State History, 2007.
\n\u201cMoving In, Moving On: Lee Krasner\u2019s Work in Jackson Pollock\u2019s Studios,\u201d Long Island Historical<\/em>
\n Journal,<\/em> vol. 20:1-2 (Fall 2007\/Spring 2008),
\nBiographical essay on Lee Krasner, Dictionary of Notable American Women,<\/em> 2005.
\n\u201cThe Hamptons Lost and Found,\u201d Foreword, The Lost Hamptons,<\/em> Arcadia, 2004.
\nBiographical essay on Larry Rivers, Scribner\u2019s Encyclopedia of American Lives,<\/em> vol. 6, 2004.
\n\u201cLee and Jackson in the Kitchen,\u201d The Artist\u2019s Palate,<\/em> 2003.
\n\u201cParsing Pollock,\u201d Long Island Historical Journal,<\/em> Spring 2002.
\n<\/em>\u201cRecreating Pollock, Gingerly,\u201d The New York Times<\/em> Weekend section, 16 February 2001, pp. E1, 26.
\n\u201cPollock in Context,\u201d www.sonyclassics.com\/pollock, 2000.
\n“Jackson Pollock in Italy: An Absent Presence,” Whelk\u2019s Walk Review,<\/em> Spring 1999.
\n\u201cOn Jackson Pollock,\u201d The Outlaw Bible of American Poetry.<\/em> New York: Thunder\u2019s Mouth Press, 1999.
\nForeword and essay on the Pollock-Krasner House (for a special section on Jackson Pollock and Lee
\nKrasner), The North Atlantic Review,<\/em> 1998.
\n“Lee Krasner, ‘From There to Here’,” Long Island Women: Activists and Innovators.<\/em> Hempstead, NY: Long Island Studies Institute, 1998.
\n“Arthur G. Dove and the Origins of Abstract Expressionism,” American Art,<\/em> (Spring 1998), pp. 66-83.
\n<\/em>“Stuart Davis’s ‘World of Tomorrow’,” American Art<\/em> <\/em>9:3 (Fall 1995), pp. 96-100.
\n<\/em>“Jos\u00e9 Clemente Orozco and David Alfaro Siqueiros, Jackson Pollock’s Mexican Masters,” Art Nexus <\/em> <\/em>(Uruguay), Winter 1994-95.
\n<\/em>“Jackson Pollock and Willem de Kooning: Two Painters on the Periphery,” Vytvarny Zivot<\/em> <\/em>1:XXXVII (1992), pp. 13-18 (Czech), 67-69 (English)
\n<\/em>“Queens Museum Turns its Back on World’s Fair Collection,” World’s Fair<\/em> <\/em>XII:1 (January-March 1992), p. 22.
\n“Black and White: Back to Basics,” Provincetown Arts<\/em> <\/em>7 (1991), pp. 98-99.
\n<\/em>“On the Floor,” Long Island Historical Journal<\/em> <\/em>3:2 (Spring 1991), pp. 155-167.
\n<\/em>“From Dump to Glory: Robert Moses and the Flushing Meadow Improvement,” Robert Moses: Single Minded Genius.<\/em> <\/em>Interlaken, NY: Heart of the Lakes Publishing\/Long Island Studies Institute, 1989, pp. 91-100.
\n“Eastern Long Island’s Native Artists,” Provincetown Arts<\/em> <\/em>5 (1989), 136-139.
\n<\/em>Biographical essay on Larry Rivers,The Dictionary of Art,<\/em> <\/em>London, England, 1988.
\n<\/em>“Larry Rivers: Dimensions and Directions,” Journal of the Spoleto Festival U.S.A.<\/em>, <\/em>1988, pp. 49-50.
\n“Imagining Tomorrow: History, Technology and the American Future” (book review), Spectrum<\/em> <\/em>23:8 (August 1986).
\n“Design in America: The Cranbrook Vision, 1925-1950” (book review), Winterthur Portfolio<\/em> <\/em>20:2\/3 (Summer\/Autumn 1985).
\n“Ray Johnson: Shadow and Substance,” Re.dact: An Anthology of Art Criticism<\/em> <\/em>1 (1984), pp. 77-80.
\n“Subway Art and the Public Use of Arts Committee,” Archives of American Art Journal<\/em> <\/em>21:2
\n(November 1981), pp. 3-12.
\n“John Reed Club Artists and the New Deal: Radical Responses to Roosevelt’s ‘Peaceful Revolution’,” Prospects<\/em> <\/em>5 (1980), pp. 241-268.
\n<\/em>“American Art and the New Deal,” Journal of American Studies<\/em> <\/em>6:3 (December 1972), pp. 289-296.<\/p>\n
\n2021 Picasso in Pollock, Pollock-Krasner House and Study Center
\n2020 Athos Zacharias: Recent Work, Pollock-Krasner House and Study Center
\n2019 Walter Plate: East End Abstractions, Pollock-Krasner House and Study Center
\n2018 Lous Schanker: The WPA Years, Pollock-Krasner House and Study Center
\n2017 Abstract Expressionism Behind the Iron Curtain, Pollock-Krasner House and Study Center \/ Steinberg Museum of Art LIU Post (co-curator)
\n2012 \u00a0Larry Rivers: Collaborations and Appropriations, University Art Gallery, Stony Brook University
\nMen of Fire: Jose Clemente Orozco and Jackson Pollock, Hood Museum of Art \/ Pollock-Krasner House and Study Center (co-curator)
\nThe Persistence of Pollock, Pollock-Krasner House and Study Center (co-curator)
\n2010 \u00a0Jackson and Lee, 1953: Photographs by Tony Vaccaro, Pollock-Krasner House and Study Center
\n2008 Lee Krasner: Little Image Paintings, 1946-1950, Pollock-Krasner House and Study Center
\n2006 Abstract Expressionist Prints from the Charles Randall Dean Collection, Pollock-Krasner
\nHouse and Study Center
\n2005 Perle Fine Collages, 1957-1966, Pollock-Krasner House and Study Center
\n2004 Ibram Lassaw: A Sculptor\u2019s Drawings, 1945-1950, Pollock-Krasner House and Study Center
\n2003 Lee Krasner, Before and After: Photographs by Maurice Berezov and Mark Patiky, Pollock-
\nKrasner House and Study Center
\n2002 Herman Cherry: Paintings on Paper, Martha\u2019s Vineyard, 1956, Pollock-Krasner House and
\nStudy Center
\n2001 Road: Alfonso Ossorio\u2019s Responses to Jackson Pollock\u2019s Death, Pollock-Krasner House and
\nStudy Center
\n2000 NOT Pollock \/ NOT Krasner: Replicas from the Motion Picture \u201cPollock,\u201d Pollock-Krasner
\nHouse and Study Center
\n1999 Like Sunshine, Like Moon: Paintings and Drawings by Matsumi Kanemitsu, Pollock-Krasner
\nHouse and Study Center
\n1998 The LIFE Shoot: Photographs by Martha Holmes, Pollock-Krasner House and Study Center
\n1997 new possibilities 1997, University Art Gallery, Stony Brook University
\nPaintings on Paper by John Opper, Pollock-Krasner House and Study Center
\n1996 Collages by Ben Bianchi, Pollock-Krasner House and Study Center
\n1995 Jackson Pollock: The ‘New-found’ Screen Prints, Pollock-Krasner House and Study Center
\nSilkscreen: Arnold Hofmann Jr. and the Art of the Print, Museums at Stony Brook
\nJackson Pollock: Avian Enigmas, International Bird Museum, Southampton, NY \/ Boca
\nRaton Museum of Art, Boca Raton, FL
\n1994 Color Rhythm: The Late Watercolors of Joseph Meert, Pollock-Krasner House & Study Center
\n1993 The Abstract Spirit: John Ferren (1905-1970), Pollock-Krasner House & Study Center \/
\nUniversity Art Museum, SUNY Stony Brook \/ Godwin-Ternbach Museum, Queens College
\n1993 Atelier 17 and the New York Avant-garde, 1940-1955, Pollock-Krasner House & Study Center
\n1992 Me and Jackson: Robert Arneson Interprets Jackson Pollock, Pollock-Krasner House & Study
\nCenter
\nBetty Parsons: Paintings on Paper, Pollock-Krasner House & Study Center
\n1991 Alfonso Ossorio: The Victorias Drawings, 1950, Pollock-Krasner House & Study Center
\nA Day With Jackson And Lee: Photographs by Hans Namuth, Pollock-Krasner House & Study
\nCenter
\n1990 Jackson Pollock: The Black Screen Prints, 1951, Pollock-Krasner House & Study Center
\nGreenwich Village in the 50s and 60s: Photographs by Fred W. McDarrah, Pollock-Krasner
\nHouse & Study Center
\nEast Hampton Avant-Garde: A Salute to the Signa Gallery, Guild Hall Museum
\n1989 Remembering the Future: The New York World’s Fair from 1939 to 1964 (art component), The
\nQueens Museum
\nIbram Lassaw: Space Explorations, Guild Hall Museum
\nTen Artists (invitational), Guild Hall Museum
\n1988 Peggy Bacon: A Life in Art, Guild Hall Museum
\nImages and Scientific Imagination, Guild Hall Museum
\n1987 The Gershwin Years, Barbican Centre, London, England \/ The Hollywood Bowl Museum, Los
\nAngeles, CA
\nAmerican Masters, Guild Hall Museum
\nNew Spaces\/New Faces (invitational), Guild Hall Museum
\nLong Island Modern: The First Generation of Modernist Architecture on Long Island, 1925-1940
\n(exhibition director), Guild Hall Museum and tour
\nToba Tucker: A Shinnecock Portrait, Guild Hall Museum and tour
\n1986 Larry Rivers: Collaborations and Illustrations, Adelphi University
\nArt of the Carousel, Guild Hall Museum
\nEleven Painters (invitational), Guild Hall Museum
\nThe Intimate Eye: Photographs by Dorothy Norman, Guild Hall Museum
\nCrosscurrents: An Exchange Exhibition Between Guild Hall Museum and the Provincetown Art
\nAssociation and Museum, Guild Hall Museum \/ Provincetown Art Association & Museum
\nJimmy Ernst: A Survey, 1942-1983, Guild Hall Museum
\n1986 Small Sculpture from the Paul Magriel Collection, Guild Hall Museum and tour
\n1984 Robert Gwathmey: Works from 1941-1984, Guild Hall Museum
\nArtist in the Theater, Guild Hall Museum in cooperation with the Hillwood Art Museum, Long
\nIsland University, C.W. Post Campus
\nArt and Friendship: A Tribute to Fairfield Porter, Guild Hall Museum and tour
\nWilliam King Sculpture, Guild Hall Museum
\n1983 Eccentric Landmarks of Suffolk County, Islip Art Museum
\nLarry Rivers: Performing for the Family, Guild Hall Museum \/ Emily Lowe Art Gallery,
\nUniversity of Miami, Coral Gables, FL
\nMultiple Portraits: Recent Work by Elaine de Kooning, Guild Hall Museum
\nArrivals (invitational), Guild Hall Museum
\n1982 The World of George Bellows, Guild Hall Museum
\nOn Hard Water: Iceboating Past and Present, Guild Hall Museum
\nAltered States: Experimental Graphics by Long Island Artists, Long Island Printmakers Society
\n1982 Poets and Artists Collaborating, Guild Hall Museum (video production)
\n1981 Trylon and Perisphere: Icon of the Future, The Queens Museum
\n1980 Dawn of a New Day: The New York World’s Fair, 1939\/40, The Queens Museum
\n1978 David Burliuk: Years of Transition, 1910-1930, Parrish Art Museum
\nArt of the Adirondacks, Parrish Art Museum
\n1978 Dan Flavin…drawn along the shores, Parrish Art Museum
\nThe Graphic Eye, Parrish Art Museum
\n1977 Twentieth Century American Paintings from the Metropolitan Museum of Art, Parrish Art
\nMuseum \/ Palais des Beaux Arts, Brussels, Belgium (1978)
\n1977 Woodstock: An American Art Colony, 1902-1977, Vassar College Art Gallery (research
\nassociate)
\n1976 7 American Women: The Depression Decade, Vassar College Art Gallery (co-curator)
\nTom Barrett: Portrait of Poughkeepsie, Duchess County Art Association (co-curator)
\n1974 Federal Art in Cleveland, 1933-1943, Cleveland Public Library (curatorial coordinator)<\/p>\n
\n2025 “A Conversation with Nicholas Petraco,” Hamptons Whodunit, East Hampton, NY
\n“Where the Bodies Are Buried,” Gallery North, Setauket, NY
\n“The Creative Decade: The ’70s in Springs,” Ashawagh Hall, East Hampton, NY
\n2024 “Guild Hall: An Adventure in the Arts,” The Society of the Four Arts, Palm Beach, FL\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 “Symbolism and Substance: The Evolution of Courthouse Mural Imagery,” New York County Courthouse, NY
\n2023 “Lee Krasner in Context,” Docent Memorial Lecture, Wadsworth Atheneum Museum of Art, Hartford, CT
\n“Murder in the Hamptons,” panel, Hamptons Mystery & Crime Festival, East Hampton, NY
\n“Engage, Innovate, Collaborate: Using AR, VR, and Immersive Experiences,” panel, American Alliance of Museums Conference, Denver, CO
\n“James Brooks: A Painting is a Real Thing,” panel, Parrish Art Museum, Water Mill, NY
\n2022 “‘The country is wonderful’: Jackson Pollock and Lee Krasner in The Springs,” 7th Biennial Grant Wood Symposium, Cedar Rapids Museum of Art, Cedar Rapids, IA
\n“Jackson and Lee: What Was Really Cooking in the House and Studio,” Quick Center for the Arts, Fairfield, CT
\n2021 “Murtic’s New York 1951,” National Museum of Modern Art, Zagreb, Croatia (via Zoom)
\n“Hamptons Bohemia,” East Hampton Historical Society (via Zoom)
\n“Jackson Pollock’s Paper Trail,” Popular Culture\/American Culture Association Virtual Conference (via Zoom)
\n2020 “Roots and Branches,” Osher Lifelong Learning Institute, Stony Brook University (via Zoom)
\n2018 “The Signa Gallery, 1957-1960,” Eric Firestone Gallery, East Hampton, NY
\n2017 “Pollock’s Paper Trail,” Abstract Expressionism: Works on Paper symposium, Stony Brook Manhattan
\n“Larry Rivers: Jewish Themes,” Temple Adas Israel, Sag Harbor, NY
\n2016 “Inside the Abstract Expressionist Studio,” Royal Academy of Arts, London
\n2015 “Paintings as Walls: Peter Blake, Jackson Pollock, and the Myth of Unframed Space,” 11th Biennial Symposium, Latrobe Chapter AIA, \u00a0Washington, DC
\n“Europe in Pollock \/ Pollock in Europe,” Peggy Guggenheim Collection, Venice
\n“Pollock’s Statements: Interpreting his art in his own(?) words,” Southeast College Art Conference, Pittsburgh, PA
\n“Artists of The Springs: A 70-Year History,” Springs Improvement Society, East Hampton, NY
\n2014 “A Painter’s Paradise: East Hampton 1880-1920,” East Hampton Historical Farm Museum
\n“Jackson Pollock: Myth vs. Reality,” Suffolk County Library Association, Bay Shore, NY
\n“Visions of Tomorrow: Art and Commerce at the 1939 New York World’s Fair,” Noguchi Museum, Long Island City, NY
\n“Jackson Pollock, Draughtsman,” The Long Island Museum, Stony Brook, NY
\n2013 “The Things at 9 Mac: Refiguring Ossorio and Pollock,” Transatlantic Conversations and Abstract Expressionism, The Phillips Collection, Washington, DC
\nModerator, art panel, Crossings: Larry Rivers and His Milieu symposium, New York University
\n2012 “On Jackson Pollock’s Creative Imagination,” 92nd Street Y Tribeca, New York, NY
\n“The Literary Larry,” Stony Brook University, Stony Brook, NY
\n2011 “Jackson Pollock in California: The Mexican Connection,” Southwest Art History Conference, Taos, NM
\n“Making Murals Modern: Social Consciousness and Formal Innovation During the New Deal,” 1935: The Reality and the Promise conference, Hofstra University, Hempstead, NY
\n“Art for the Millions, or Art for the Market?” The Long Island Museum, Stony Brook, NY
\n2010 \u201cJackson Pollock and Jazz,\u201d Researching New York History Conference, Albany, NY
\n\u201cUncle Sam, Art Patron,\u201d The Arts and the Public, New England American Studies Association Annual Conference, Boston
\n2009 \u201cSnake in the Grass: The Artist and the Garden,\u201d Guild Hall Museum, East Hampton, NY
\n\u201cArt and the State,\u201d League of Women Voters, East Hampton, NY
\nSymposium moderator, \u201cPerle Fine and Early Leaders of Abstract Expressionism,\u201d Hofstra University, Hempstead, NY
\n2008 Meid Mentor Lectureship, Marymount College, Palos Verdes, CA
\n\u201cRoots and Branches: The Art of Jackson Pollock and Lee Krasner,\u201d Phoenix Art Museum and the Art Institute of Chicago
\n\u201cJackson Pollock and Jazz,\u201d Brilliant Corners jazz symposium, Stony Brook University
\n2007 \u201cMoving In, Moving On: Lee Krasner\u2019s Work in Jackson Pollock\u2019s Studios,\u201d Artists in Their Studios symposium, Archives of American Art\/CUNY Graduate Center
\n\u201cJackson Pollock\u2019s Sense of Space and Place,\u201d Southwest Art History Conference, Taos, NM
\n2006 \u201cHamptons Bohemia,\u201d Norton Museum of Art, West Palm Beach, FL
\n\u201cEurope in Pollock\/Pollock in Europe,\u201d Smithsonian American Art Museum, Washington, DC
\n\u201cSeeing Red: Jackson Pollock\u2019s Use of Tanbark Sailcloth,\u201d Williams College Museum of Art, Williamstown, MA
\n2004 \u201cThe Birth of Abstract Expressionism,\u201d introduction to conference, Abstract Expressionism: An International Language, Stony Brook Manhattan
\n\u201cThe New York School,\u201d 3-part seminar; \u201cLee Krasner and Jackson Pollock,\u201d two-part seminar, Stony Brook University Round Table
\n\u201cA Tribute to Ibram Lassaw,\u201d Rogers Memorial Library, Southampton
\n\u201cHerman Cherry,\u201d Avram Gallery, Southampton College
\n\u201cThe Pollock-Krasner House, Then and Now,\u201d Ladies Village Improvement Society, East
\nHampton
\n\u201cSeven American Women and their Sisters,\u201d Clayton & Liberatore Gallery, Bridgehampton
\n2003 \u201cAmerican Art in the Nineteen Thirties,\u201d 3-part seminar, Stony Brook University Round Table
\n\u201cWhat Didn\u2019t He Do? A Tribute to Larry Rivers,\u201d Rogers Memorial Library, Southampton
\n2002 Various readings and lectures in conjunction with the publication of Hamptons Bohemia<\/em>
\n2001 \u201cParsing Pollock,\u201d Fifth Congress of the Americas, Universidad de las Am\u00e9ricas, Cholula, Mex.
\nReading, Such Desperate Joy,<\/em> Canio\u2019s Books, Sag Harbor, NY
\nArtists Talk on Art, New York, NY
\n2000 \u201cShooting Jackson,\u201d Montclair Adult Education Program, Montclair, NJ; Artists Network of Great Neck, Great Neck, NY; Radford University, Radford, VA
\n\u201cLee Krasner, Alias Mrs. Jackson Pollock,\u201d Hewlett-Woodmere Public Library, Hewlett, NY
\nArtists Talk on Art, New York, NY
\n1999 \u201cShooting Jackson,\u201d Twelfth Annual Pollock-Krasner Lecture,\u201d Guild Hall, East Hampton, NY
\n“Jackson Pollock: The Man, The Art, The Exhibition,\u201d dialogue with Pepe Karmel, Hunter College, New York, NY (sponsored by AICA\/USA)
\n\u201cJackson Pollock: An Artist\u2019s Evolution,\u201d Kean University, Union, NJ
\n“Women on the Projects: Paradigms and Paradoxes,\u201d American Culture\/Popular Culture
\nAssociation Conference,San Diego, CA
\n“The Interrelationship of the Parsons Artists,” Betty Parsons symposium, Heckscher Museum of Art, Huntington, NY
\n1998 “From Barbizon to Bonac: East Hampton as an Art Colony,” 350th Anniversary Celebration lecture, East Hampton, NY
\n“Jos\u00e9 Clemente Orozco and David Alfaro Siqueiros, Jackson Pollock’s Mexican Masters,” Third Congress of the Americas, Universidad de las Am\u00e9ricas, Cholula, Mexico
\n1997 “The LIFE and TIME of Jackson Pollock,” American Culture Association \/ Popular Culture Association annual meeting, Boston, MA
\n“Arthur G. Dove and the Origins of Abstract Expressionism,” Round Table Lecture, Pollock-Krasner House and Study Center
\n“Artists of the Hamptons,” Master Art Workshop, Southampton College, Long Island
\nUniversity, Southampton, NY
\n“Researching History Murals,” The Ross School, East Hampton, NY
\n1995 “Escaping the Lure of the Metropolis: Beyond Second City Syndrome,” Annual Meeting, Mid-Atlantic Association of Museums, Melville, NY
\n“The Literary Larry,” Annual Book & Author Luncheon, John Jermain Library, Sag Harbor, NY
\n“Why Does the 1939 World’s Fair Still Matter?” Museum of the City of New York
\n“Art of Conscience Then and Now,” Parrish Art Museum, Southampton, NY
\n1995 “New Ways of Gravure: Innovations in American Printmaking, 1930-1950,” Parrish Art Museum, Southampton, NY
\n“Art and Craft at the 1939 New York World’s Fair,” American Craft Museum, New York
\n1993 “Federal Art Patronage in the 1930s,” NEH teachers’ seminar, Southampton High School, Southampton, NY; also University of Mississippi, Oxford, MS
\n“The Pollock-Krasner House and Study Center,” Peggy Guggenheim Collection, Venice, Italy
\n“A Boat and a Goat: The Jackson Pollock-Lee Krasner Home and Studio,” Aldrich Museum,
\nRidgefield, CT (for the Weir Farm National Historic Site)
\n1994 “Jos\u00e9 Clemente Orozco and David Alfaro Siqueiros, Jackson Pollock’s Mexican Masters,” XXVII General Assembly, Association International des Critiques d’Art (AICA), San Juan, PR
\n“Witness to Imminent Drama: Elaine de Kooning and the New York Art World, 1938-50,”
\nHeckscher Museum, Huntington, NY
\n“Painters on the Periphery,” BOCES symposium on Ethnicity, Gender and Cultural Diversity on Long Island, Holbrook, NY
\n“New Deal Murals: Art Treasures or Welfare Wallpaper?” Public Art Conservation conference, Fashion Institute of Technology, NY
\n“John Ferren in Context: An Abstract Painter, His Colleagues and His Times,” Godwin-Ternbach Museum, Queens College, Flushing, NY
\n“The Abstract Spirit: John Ferren,” University Art Gallery, Stony Brook University
\n“Robert Richenburg,” Rose Art Museum, Brandeis University, Waltham, MA
\n“The Experience of Place,” Southampton Artists, Southampton Cultural Center
\nPanel discussion on artists of the eastern Long Island region, Ashawagh Hall, East Hampton, NY
\n“Artists of East Hampton: The Postwar Generation,” The Ramblers, East Hampton, NY
\n“The Conservation of Public Art,” New York Conservation Association, Women’s City Club, NY
\n1992 “Jackson Pollock and Willem de Kooning: Two Painters on the Periphery,” XXVI General Assembly, AICA, Vienna, Austria
\n“The Pollock-Krasner House and Study Center,” University of Kentucky, Lexington, KY
\n“The East Hampton Artists’ Community,” Honors College, Stony Brook University
\n“Herman Cherry,” Deson-Saunders Gallery, Chicago, IL
\n“Artists of Eastern Long Island: A History,” Parrish Art Museum
\n“Modern Painters on Long Island,” Long Island Studies program, SCOPE
\n1991 “Alfonso Ossorio: The Victorias Mural,” Ossorio memorial symposium, Pollock-Krasner House and Study Center
\n“A New Deal for Women,” Art Department lecture series, Stony Brook University
\n1989 “Remembering the Future: The 1939 and 1964 New York World’s Fairs,” Municipal Art Society, New York
\n“Art for the Millions: The Art Programs of the ’39 and ’64 Fairs,” Cooper-Hewitt Museum, New York
\n“The Art of the 1939 and 1964 World’s Fairs,” The Queens Museum \/ Museum of the City of New York joint program
\n“Artists of Eastern Long Island,” Heckscher Museum, Huntington, NY, and Baruch College, City University of New York
\n1988 “American Art in the 1960s,” Center for American Culture Studies, Columbia University
\n“The Usable Past Meets the Usable Future: The 1939 New York World’s Fair,” Lyceum Lecture, Suffolk County Community College, Riverhead, NY
\n“Icon of the Future: The Trylon and Perisphere, Theme Center of the 1939\/40 New York World’s Fair,” The Queens Museum
\n“Seeds of Modern Art in America,” Center for Creative Retirement, Southampton College, Long Island University
\n“From Dump to Glory: Robert Moses and the Flushing Meadow Improvement,” conference,
\nLong Island Studies Institute, Hofstra University, Hempstead, NY
\n1987 “American Icons,” symposium, Center for American Culture Studies, Columbia University
\n“The Machine in the Meadow: How Ideas of Progress were Demonstrated at the 1939\/40 New York World’s Fair,” American Studies Association International Convention, New York
\n“Artists of Sag Harbor,” John Jermain Library, Sag Harbor, NY
\n“American Artists and the New Deal,” Jimmy Ernst Artists Alliance, East Hampton, NY
\n“The Usable Past Meets the Usable Future,” The Brooklyn Museum
\n1986 “The Literary Larry,” poetry reading and analysis, Adelphi University, Garden City, NY
\n“Yesterday’s Tomorrows,” Whitney Museum of American Art, Stamford, CT
\n1985 “Isamu Noguchi’s Sculpture,” Isamu Noguchi Garden Museum, Long Island City, NY
\n“The Literary Larry,” Canio’s Books, Sag Harbor, NY
\n“Artists of Eastern Long Island,” Custer Institute, Southold, NY
\n“The Usable Past Meets the Usable Future,” Yale University, New Haven, CT
\n1984 “Narrative Painting and Contemporary Art,” panel, The Jewish Museum, New York
\n“Art and Design in the ‘World of Tomorrow’,” New Jersey State Museum, Trenton, NJ
\n“The Ethics of Art Criticism,” Ethical Culture Society, Commack, NY
\n1983 “Regionalism Now,” conference, Minneapolis Institute of Arts
\n“The Usable Past Meets the Usable Future,” 9th Biennial Convention, American Studies
\nAssociation, Philadelphia, PA
\n“Island Issues,” Glen Cove Library, Glen Cove, NY
\n1982 “Regionalism and the Region: Artists’ Changing Views of the Local Landscape, 1920-1940,” Parrish Art Museum
\n“The 1930s: A Decade in Turmoil,” Minnesota Museum of Art, St. Paul, MN
\n“Protecting the New Deal’s Art Legacy,” SUNY Conservation Program, Cooperstown, NY
\n1981 “A Curator’s Choices,” Museum Studies Program, City University of New York
\n“The Artist’s View of Doing Business,” symposium, Huntington Township Art League,
\nHuntington, NY
\n1980 “The Government as Patron: Art of the 1930s,” Delaware Art Museum, Wilmington, DE
\n“Industrial Design at the 1939 New York World’s Fair,” Cooper-Hewitt Museum
\n“From Research to Exhibition,” museum design conference, Lower Hudson Conference of
\nHistorical Agencies and Museums, New City, NY
\n1978 “Toward a ‘Fit Plastic Language’: Six Muralists at the 1939 New York World’s Fair,” First Goodson Symposium, Whitney Museum of American Art, New York
\n1977 “Social Consciousness in New Deal Art,” Oxford University, England
\n“The New Deal Art Projects,” Exeter University, England
\n1976 “The Relevance of the WPA Today,” The Art Students League, New York
\n1972 “American Art and the New Deal,” Durham University, England
\n1969 “Modern American Art,” Northumberland County Technical College, Ashington, England<\/p>\n
\nNOTE: this listing does not include more than 250 weekly radio commentaries on WLIU, 88.3 FM<\/p>\n
\n2020 “Pollock et Pollock,” un film de’Isabelle Rebre, France\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 2019 “Painters of the East End,” All of It, with Alison Stewart, WNYC Radio
\n“Pollock-Krasner House, Someone Lived here podcast
\n“Good painting, my dear,” Gesso podcast
\n“The Writer’s Dream,” with Linda Fank, Long Island Cablevision
\n2005 “Biography: Jackson Pollock,” The Biography Channel
\n2004 \u201cThe World\u2019s Most Difficult Jigsaw Puzzle,\u201d BBC Radio 4
\n2002 “Pollock Song,” exhibition video, l\u2019America di Pollock, Museo Correr, Venice, Italy
\n“Artscene on Long Island,” with Shirley Romaine, Long Island Cablevision
\n2001 \u201cGreat American Artists,\u201dHomes of Our Heritage, Home & Garden Television
\n\u201cJackson Pollock\u2019s Jazz,\u201d Studio 360, WNYC Radio (syndicated)
\n\u201cNew York Art World,\u201d NHK Japan [Television] Broadcasting Corp.
\n\u201cRay Johnson On-Line,\u201d Connections, Plagiat Film, Denmark
\n\u201cDes Peintres Pour le Nouveau Monde,\u201d with Annie Cohen-Solal, French National Radio
\n“The Lois Wright Show,” LTV Cable Television, East Hampton, NY
\n2000 \u201cThe Hamptons,\u201d with Rosie Millard, BBC Television
\n“The Song Is You,” with Bonnie Grice, WPBX-FM Radio, Southampton, NY
\n1999 “Jackson Pollock: Love and Death on Long Island,” BBC Television
\n1998 \u201cThe Empire of Signs,\u201d American Visions, with Robert Hughes, BBC Television [UK And USA]
\n“Arts & Minds,” Bravo Cable Television
\n“This is Modern Art,” Oxford Television [UK Channel 4]
\n“Jackson Pollock,” Ovation Cable Television
\nHocus Focus, with Herb Aronson, Cablevision, Riverhead, NY
\n1996 “Focus on Women,” with Florence Rapoport, WLIW Television
\n1995 “Artscene on Long Island,” with Shirley Romaine, Long Island Cablevision
\n1994 \u201cLarry Rivers,\u201d ART\/New York, Manhattan Cable Television
\n1984 \u201cCome to the Fairs,\u201d A Walk Through the 20th Century with Bill Moyers, PSB Television<\/p>\n
\n1992 ARH 548, Museum Studies, Stony Brook University (team-taught)
\n1985-86 Senior seminar in Art History, School of Visual Arts, New York<\/p>\n
\nLong Island University, Brookville, NY
\n2006 \u201cDo Not Fold, Bend, Spindle or Mutilate: Computer Punch Card Art,\u201d Washington
\nPavilion, Sioux Falls, SD
\n2000 \u201cHusbands and Wives,\u201d Sara Nightingale Gallery, Water Mill, NY
\n1999 \u201cThe Faculty Show \u201899,\u201d University Art Gallery, Stony Brook University
\n1997 “The Faculty Show ’97,” University Art Gallery, Stony Brook University
\n1996 “For the Birds,” Islip Art Museum, East Islip, NY
\n1994 “The Faculty Show ’94,” University Art Gallery, Stony Brook University
\n1992-93 “Worship,” Ren\u00e9e Fotouhi Fine Art East, East Hampton, NY
\n1992 “Women on Paper,” Studio 3, Goodfriend Park, East Hampton, NY
\n1991 “The Faculty Show ’91,” University Art Gallery, Stony Brook University
\n1970 “Mid-Pennine Open Sculpture 1970,” Abbot Hall Art Gallery, Kendal \/ Haworth Art Gallery, Accrington, England
\n1969 Two-person exhibition, Bondgate Gallery, Alnwick, England
\n1968 Free Painters and Sculptors, London, England
\n1965 The Fence Show, Brooklyn Museum<\/p>\n","protected":false},"excerpt":{"rendered":"