Renée Green: The Equator Has Moved
Dia Art Foundation, New York
March 07, 2025 – August 31, 2026

Dia Art Foundation is pleased to announce Renée Green: The Equator Has Moved, the influential multimedia artist’s first major solo museum exhibition in New York. This landmark presentation at Dia Beacon features Green’s rarely seen paintings and installations from the late 1980s and early ’90s, alongside newly commissioned Bichos and Space Poems (all 2025), and other works reconfigured specifically for Dia. Opening on March 7, 2025, the exhibition inhabits the two vast central galleries and the adjacent corridor gallery, situated at the nexus of Dia Beacon’s floorplan. “We are honored to be the first New York museum to host a comprehensive presentation of Renée Green’s work. This exhibition underscores the ways in which Green both converses with and expands the aesthetic and intellectual histories that define Dia’s program and are key to her artistic formation. It also extends an engagement that began in 2017 with Green’s participation in our long-running Artists on Artists Lecture Series,” said Jessica Morgan, Dia’s Nathalie de Gunzburg Director.

Over the past four decades, Green has developed a complex, knowledge-based practice that integrates images, texts, objects, and time-based media. Her work traverses the porous boundaries between fact and fiction, public recollection and individual memory, with a focus on site-specificity and cultural circulation. Accumulating new meaning as it travels through varying institutional contexts, Green’s work invites viewers to reconsider narratives of identity, perception, and classification.

At Dia Beacon, the exhibition presents a dynamic interplay between past and present, including foundational bodies of work such as her Color series (1990). This early group of diagrammatic paintings interrogates the politics of color and is brought together here for the first time since its inception. Also on view, Neutral/Natural (1990) is a multimedia installation that deconstructs binary systems of categorization.

Green has suspended from the ceiling a series of new and revisited Space Poems -vibrant, double-sided, text-based banners-in four clusters throughout the central galleries. Incorporating the artist’s own writing alongside a plethora of literary, philosophical, geological, and historical sources, these banners articulate indeterminate relays and relations between text, color, time, and space. The hanging Space Poems are complemented by a new body of 24 wall-mounted variations in enamel, Space Poem #6 (Tracing Excerpt) (2025), displaying the names of vanished gardens and the years and locations of historical maps in verdant chromatic hues.

Further animating Dia Beacon’s expansive galleries, new hybrid configurations of Green’s Bichos (all 2025)- human-scale, multicolored, modular structures for viewing and listening- feature selections from her compendium of moving-image and sound works, functioning at once as sculptures, partitions, and media booths. Additionally, the exhibition reunites Pigskin Library and Peak (both 1991), pivotal installations that critique colonial histories of expedition and displacement and their entanglement with art-historical genres of site, landscape, and Land art.

Encouraging audiences to walk, sit, listen, look up, and read, Renée Green: The Equator Has Moved culminates at the south end of the central galleries. A towering set of fictional coordinates that stretch from east to west along the corridor, Elsewhere? Wall Version charts the names of imaginary places drawn from literature, accompanied by the sound work Imaginary Places (A to Z)(2002), a disembodied voice whispering these references amid exquisite musical tones.

“Renée Green’s practice is one of accretive, generative returns- to books, places, cultural figures, and artistic forebearers, as well as her own works and words- closely aligning with Dia’s commitment to artists whose practices unfold over time and in response to site. This capacious exhibition demonstrates how Green’s multidisciplinary work continues to critically engage fundamental formal and cultural concerns, such as color and landscape, language and knowledge, across timelines and locations. It offers a rare opportunity to experience the work’s conceptual, material, and spatial resonances in dialogue with Dia’s institutional history and aesthetic genealogies,” said Jordan Carter, Dia’s curator and co-department head.

The exhibition is accompanied by a comprehensive monograph providing a foundational introduction to the artist’s practice through several distinct and complementary points of entry, each addressing critical gaps in existing scholarship. Forthcoming in fall 2025, this publication features contributions by Alexander Alberro, Erika Balsom, Carter, Diedrich Diederichsen, Ann Goldstein, James Meyer, and Blake Oetting; edited by Jordan Carter and Svetlana Kitto.

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