Known for her large-scale works of art made from materials that she has sourced throughout the world, Rina Banerjee: Make Me a Summary of the World is the first mid-career retrospective and touring exhibition of the artist’s work. This major exhibition focuses on four interdependent themes in Banerjee's work: identity, globalization, feminism, and climate change.


A show within a show, Other Walks: Gabriel Orozco is an in-depth look at the photographs and videos of Gabriel Orozco, who since art school has walked the streets and experimented with what he encounters. For Orozco, photography is less a medium than a tool for collecting his interactions with circumstances and objects. He sees his straightforward photographs—rainwater collected in an umbrella, fleeting footprints embalmed in concrete, steam rising from a grate—as containers of events or phenomena that are still occurring, still being experienced, through the viewers’ act of looking.​

One of our most elemental behaviors as physical beings—like eating, sleeping, and breathing—is walking. It’s an amateur activity. But what happens when we become explicit, inquisitive, and deliberate about what is as natural to us as eating and breathing? Walking is both universal and idiosyncratic: we all walk but choose different paths, peppered by different interactions and experiences.​

Conversion is the third installment of Koret Family Gallery exhibitions to focus on STEAM education (Science, Technology, Engineering, Art, and Math). Explore the intersection of art and engineering through artwork selected from SJMA’s permanent collection.

The Propeller Group anchors its ambitious projects in Vietnam’s history and its paradoxical present. Based in Vietnam and Los Angeles, the art collective extends its reach to address global phenomena, from street culture to international commerce to traditions shared across cultures. In multifaceted projects, The Propeller Group blurs the lines between modes of cultural production and embraces the formats of branding campaigns, television commercials, Hollywood movies, and music videos to explore the complex ideologies that drive global commerce, war, and cultural and historical memory. One highlight of the exhibition is The Living Need Light, the Dead Need Music (2014), a visually lush film that follows funerary traditions of the Mekong Delta. It combines documentary footage, staged reenactments, and fantastical scenes to explore slippages between real and imagined rituals shared across cultures. The film is accompanied by sculptures inspired by traditional Vietnamese funerary objects: a carved jackfruit wood snake with gold fangs and an adorned water buffalo skull.

In 1957, Louise Nevelson (1899–1988) installed one of her first “Sky Cathedral” sculptures in the lobby of her brother’s hotel, the historic Thorndike Hotel in Rockland, Maine. It hung there for ten years until it was acquired by the pioneering collectors of American sculpture Jean and Howard Lipman. The Lipmans displayed the massive wooden assemblage of black painted boxes in Howard Lipman’s Manhattan business office. Sky Cathedral (1957) became a central piece in the family’s collection when in the 1970s they moved to Arizona and built a new house to accommodate its monumental scale. Their son Peter, along with his wife, Beverly, generously donated the sculpture to the San Jose Museum of Art in 2010.

Louise Nevelson: The Fourth Dimension brings this important work in SJMA’s permanent collection together with personal objects and ephemera from the Peter and Beverly Lipman Collection.

While the selfie can be considered a common version of the self-portrait genre, it is often a vastly different from the self-portrait in the hands of an artist. By blurring the distinction between reality and fantasy, artifice and authenticity, and public and private imagery, the artists whose work is included in This Is Not a Selfie carefully fabricate photographs that expand the domain of self-portraiture.

Our simultaneously abusive and dependent relationship with water has made it an international battleground not only of environmental issues, but also of humanitarian concerns. The Darkened Mirror complements the pristine waterscapes on view in the exhibition Fragile Waters by presenting recent work by international artists who address our conflicted relationship with water today. From their twenty-first-century points of view, they reveal an essential resource that is no longer merely threatened, but actively besieged: it is a troubling reflection of the contemporary moment.