BOXER Estate STANELY
BOXER Estate STANELY
INTRODUCTION
It is a privilege to present this extraordinary selection of works by Stanley Boxer, an artist whose unwavering commitment to material and process placed him at the forefront of postwar American abstraction—yet always just outside the critical categories that sought to contain him Born in New York City, Boxer showed an early aptitude for draftsmanship, but it was only after his service in the Navy during World War II that he formally entered the art world, enrolling at the Art Students League at the urging of his brother. From that moment forward, painting became his life’s anchor a pursuit he followed with fierce discipline and relentless energy for nearly fifty years.
Boxer referred to himself not as an artist, but as a practitioner, a term that speaks volumes about the ethos behind his work. He maintained a daily, almost monastic, studio practice and moved fluidly between painting, drawing, sculpture, and printmaking, treating each medium as an extension of the same tactile inquiry. While he briefly caught the attention of critic Clement Greenberg and was at times grouped with the Color Field painters, Boxer consistently resisted such classifications. His surfaces were never about purity or flatness. Instead, they embraced density, texture, and coalescence, qualities that became the defining hallmarks of his singular visual language
In presenting these works, we honor Boxer’s unshakable dedication to abstraction as a space of labor, intuition, and poetic materiality.
This body of work stands not only as a testament to his remarkable vision, but as a challenge to the critical simplifications of his time, inviting us to experience surface as sediment, gesture as structure, and painting as a lifelong act of becoming.
SPONDER GALLERY STAFF
DEBORAH SPONDER, PRESIDENT
BEVERLY CUYLER, DIRECTOR
CRISTIN LONGO, REGISTRAR
ABBE SPONDER PREVOR, CURATOR
ALICE KOVALEVSKY, GALLERY ASSISTANT
What once appeared as a seamless theoretical edifice (Ab Ex Theory) now reveals cracks, hairline fractures in the dogma where dissenting voices were once silenced or overlooked. The dam has begun to seep, and now is the time to pounce, to re-examine, and to reclaim figures like Stanley Boxer, whose work represents a direct challenge to the Greenbergian orthodoxy.
Boxer did not simply elude classification; he actively denied it. Though Greenberg initially lumped him in with the Color Field painters, Boxer’s dense, sculptural surfaces and compulsively labored compositions stand as an affront to the very qualities Greenberg held sacred
In retrospect, Boxer’s resistance now appears prophetic. His art offers an alternative lineage, one in which materiality, process, and embodied labor are foregrounded over formalist theory.
In light of this, Towards a Newer Laocoön no longer reads as an objective account of artistic progress but rather as a polemic with exclusions and blind spots. Greenberg’s desire to cordon painting off from literature and sculpture may have been a strategic move for its time, but today it feels artificially constraining.
The reevaluation of figures like Boxer is not just an act of recovery, it is a necessary correction to an art history too long shaped by critical absolutism.
STANLEY BOXER (ESTATE)
A re-investigation of the practitioner of resistance, Stanley Boxer and the limits of Greenbergian formalism
STANLEY BOXER: PIGMENT POEMS AND THE POLITICS OF COALESCENT SURFACES
BY GABRIEL DIEGO DELGADO
Stanley Boxer (1926–2000) occupies a curious position in the history of postwar American abstraction, at once celebrated and sidelined, deeply respected yet frequently mischaracterized His career is among the most sensorially overwhelming in modern painting: richly textured, color-drenched, and defiantly physical A self-proclaimed practitioner rather than an “artist,” Boxer’s career unfolded outside the prevailing orthodoxies of his time He neither aligned himself fully with Abstract Expressionism nor surrendered to the chromatic detachment of Color Field painting Instead, he worked tirelessly, seven days a week, across media including drawing, printmaking, sculpture, and most notably, painting, where his vision achieved its most distinctive articulation
While critics have long focused on Boxer’s oppositional stance to Clement Greenberg’s modernist doctrine, especially his rejection of flatness and purity, such assessments often overlook a subtler, more radical dimension of his practice: his commitment to a lyric materialism, a poetics of surface that merges the tactile with the textual, and the painterly with the linguistic.
To understand Boxer’s singularity, one must begin with his own vocabulary. “Practitioner,” a term he used to describe himself, as reference above, was no mere affectation. It implied devotion, labor, and process, a commitment to making that emphasized duration over declaration. His paintings are not spontaneous outbursts, as inferred from the Ab Ex thought, but long meditations, crafted through cycles of building, scraping, incising, staining, and layering in which he directed purposefully. This methodology finds expressive form in works such as Blanchedcrustingspringentrance or Moonlightscream, where pigment behaves more like earth or sediment than paint. These are not surfaces to be read passively; they are terrains to be excavated. 7
Boxer’s canvases do not settle into stable identities They accrete, in what Tim Keane described in Hyperallergic as “coalescence the gradual coming together of disparate colors, textures and granules ” This insight is key Boxer’s surfaces reject iconicity, gesture, or singular interpretation Instead, they present themselves as fields of becoming, dense with pictorial archaeology and abstract memory
In Grimslitherofaviewincohate for example, Boxer constructs a nearly monochromatic work whose color restraint paradoxically intensifies the material drama of the surface The scraped and pocked impasto invites touch as much as sight It speaks to an art concerned not with opticality, as Greenberg would demand, but with physical presence and the embodied act of making
Boxer “retooled the vocabulary of Color Field painting by studding the canvas with relief effects, which he coordinates with an iridescent palette and apparently endless variations on impasto.”
In Grimslitherofaviewincohate for example, Boxer constructs a nearly monochromatic work whose color restraint paradoxically intensifies the material drama of the surface The scraped and pocked impasto invites touch as much as sight It speaks to an art concerned not with opticality, as Greenberg would demand, but with physical presence and the embodied act of making
Boxer’s relationship to Color Field painting was both critical
and generative He did not so much reject its premises as expand and retool its formal vocabulary As Keane writes, Boxer “retooled the vocabulary of Color Field painting by studding the canvas with relief effects, which he coordinates with an iridescent palette and apparently endless variations on impasto ” This can be seen in Gonetimesgonethatseethe, where Boxer’s palette pulses with lush contradictions: ultramarine outbursts, ochre tangles, blackened botanical gestures If the Color Field
painters sought spiritual transcendence through chromatic purity, Boxer sought earthbound immanence through chromatic excess In works like Mesasoar, Boxer infuses chromatic rhythm with narrative idiosyncrasy The title itself reads like a fragment of surrealist verse, a trait common across his works Boxer’s titles often resemble language experiments, formed from disjunctive phrases or invented portmanteau They mirror the visual rhythms of the canvas: stuttering, melodic, strange
JUST AS BOXER’S CANVASES ARE FIELDS OF COALESCENCE AND ACCUMULATION, SO
TOO ARE HIS TITLES
These titles are not peripheral. They are an essential component of Boxer’s lyrical abstraction, suggesting that he did not paint pictures but crafted textual surfaces, visual poems rendered in pigment and granule.
This underexplored relationship between Boxer’s painterly surface and his titling practice invites a broader reassessment of his work through the lens of poetics. His titles: Pitchedheatbrayed, Pawneehloodedbrood, Murmuringripofbledappeal, are not descriptive but evocative soundscapes, full of alliteration, rhythm, and invented syntax. They recall the experimental impulses of Language poets and the New York School alike, especially writers such as Clark Coolidge, John Ashbery, or even Gertrude Stein.
Just as Boxer’s canvases are fields of coalescence and accumulation, so too are his titles; compact poems that operate materially, sonically, and semantically. The textuality of his work is not metaphorical; it is literal, embodied in both the naming and the making of the object.
Even when chromatically restrained, Boxer’s works radiate a dramaturgy of surface. Every scrape, smear, or incision performs a kind of speech act. In Plashofmoon, the layered metallics and punctuated marks do not “represent” moonlight so much as enact it. The composition becomes a scene, a field of dynamic conflict between emergence and erasure.
This quality places Boxer’s work within a lineage of artists who use materiality as narrative: Cy Twombly, Antoni Tàpies, or Anselm Kiefer come to mind, yet Boxer avoids their overt symbolism or referentiality. His language is tactile, non-literal, and deeply private. The layering is not merely additive; it is intuitive, mnemonic, and performative.
Boxer’s labor-intensive approach imbues each painting with the temporality of process. They are not static images but durational events, akin to geological formations or weathered manuscripts. The paintings bear the marks of their own becoming, their own resistance to conclusion
If we are to define a Boxer aesthetic, it must be one that acknowledges his devotion to paradox and material lyricism His work exists between binaries: between gesture and erosion, between poetics and pragmatism, between form and formlessness In Pawneebloodedbrood, the horizontal white shapes in the upper top quadrant evokes scrolls or ancient codices, with color bleeding across the surface like oxidized ink. These are abstract manuscripts, fields of cryptic knowledge both emotional and tactile.
Boxer was not interested in purity. He was interested in multiplicity, in the sedimentary logic of memory, time, and touch. His refusal of neat categorization, his resistance to being boxed in by Greenbergian formalism, is not just oppositional. It is philosophical. It is a belief that art must remain in flux, that surface is never resolved, and that language, like paint, is a material to be shaped, stretched, and broken open
Stanley Boxer’s legacy is not that of a painter who defined a movement, but of one who refused definition altogether He worked across media with relentless commitment, producing one of the richest bodies of tactile abstraction in postwar American art His canvases are not monuments but laboratories, sites of experimentation, sedimentation, and poetic inquiry.
In reframing Boxer’s contribution, we must move beyond the dichotomies of Color Field versus Expressionism, Greenbergian purity versus painterly rebellion. We must instead read him as a material poet, a practitioner of surfaces who saw painting not as an object, but as a field of action and thought, a terrain where pigment and word, gesture and granule, all coalesce into something fiercely present and beautifully unresolved.
Works Cited
Keane, Tim. “Stanley Boxer’s Sublime Resistance.” Hyperallergic, June 2018. https://hyperallergic com/448633/stanleyboxer-sublime-resistance-george-bergesgallery-2018/
Greenberg, Clement Art and Culture: Critical Essays Boston: Beacon Press, 1961
Perloff, Marjorie The Poetics of Indeterminacy: Rimbaud to Cage Northwestern University Press, 1999
Rasula, Jed. Syncopations: The Stress of Innovation in Contemporary American Poetry. University of Alabama Press, 2004.
Bernstein, Charles. Attack of the Difficult Poems: Essays and Inventions. University of Chicago Press, 2011.
STANLEY BOXER (ESTATE)
Temperedpealetoa
1988, OIL & MIXED MEDIA ON CANVAS, 60 X 50 IN
Gonetimesgonethatseethe
1989 OIL & MIXED MEDIA ON CANVAS, 70 X 50 IN STANLEY BOXER (ESTATE)
STANLEY BOXER (ESTATE)
Moonlightscream
1996 OIL AND MIXED MEDIA ON CANVAS, 57 X 57 IN
Pawneebloodedbrood
1989 OIL & MIXED MEDIA ON CANVAS, 60 X 65 IN STANLEY BOXER (ESTATE)
BOXER (ESTATE)
Weepedtendrilshoarsighings
1977 MIXED MEDIA ON CANVAS, 56 X 48 IN STANLEY
STANLEY BOXER (ESTATE)
Gossamarsplinteredstygian
1983 MIXED MEDIA ON CANVAS, 52 X 100 IN
BOXER (ESTATE)
1981 MIXED MEDIA ON CANVAS, 80 X 22 IN STANLEY
Blanchedcrustingspringentrance
Pitchedheatbrayed
1984 MIXED MEDIA ON CANVAS, 25 X 30 IN STANLEY BOXER (ESTATE)
STANLEY BOXER (ESTATE)
Silentsucculences
1987 MIXED MEDIA ON CANVAS, 96 X 15 IN
STANLEY BOXER (ESTATE)
Highwesttawnny
1987 MIXED MEDIA ON CANVAS, 80 X 30 IN.
STANLEY BOXER (ESTATE)
Mesasoar
1988 OIL AND MIXED MEDIA ON CANVAS, 25 X 80 IN.
STANLEY BOXER (ESTATE)
Plashofmoon
1988 OIL AND MIXED MEDIA ON CANVAS, 65 X 60 IN.
STANLEY BOXER (ESTATE)
Murmuringripofbledappeal
1985 OIL ON LINEN, 40 X 105 1/2 IN.
STANLEY BOXER (ESTATE)
Graze
1984 OIL ON LINEN, 7 1/4 X 43 1/4 IN.
STANLEY BOXER (ESTATE)
Grimslitherofaviewincohate
1982 OIL ON LINEN, 70 X 70 IN.
STANLEY BOXER (ESTATE)
Wreathedplungeofpoppyslather
1978 OIL AND MIXED MEDIA ON CANVAS, 36 X 96 IN.
Boxer’s work may be found in noted private and public collections in the United States and in other countries, including the Ackland Art Museum, the University of North Carolina at Chapel Hill; the Addison Gallery of American Art, Phillips Academy, Andoer, Massachusetts; the Albright-Knox Art Museum, Buffalo, New York; the Ashville Art Museum, North Carolina; Ball State University, Muncie, Indiana; the Birla Museum of Art, Calcutta, India; the Boca Raton Museum, Florida; Business Community for the Arts, New York; Center for the Arts, Vero Beach, Florida; Ciba Geigy Corporation, West Caldwell, New Jersey; Chase Manhattan Bank, New York; the Columbia Museum, South Carolina; the Corcoran Gallery of Art, Washington, D C ; the Dayton Art Institute, Ohio; the Des Moines Art Center, Iowa; the Edmonton Art Gallery, Canada; the Everson Museum, Syracuse, New York; the Hirshhorn Museum and Sculpture Garden, Washington, D C ; the Houston Museum of Art, Texas; IBM Corporation, New York; Inexco Corporation, Houston, Texas; the Jane Voorhees Zimmerli Art Museum, Rutgers University, New Jersey; Joel & Lila Harnett Museum of Art, University of Richmond Museums, North Carolina; Johnson Musuem, Cornell University, Ithaca, New York; Kemper Art Museum, Washington University, Saint Louis, Missouri; Lafayette Museum of Art, Indiana; the Louisiana Museum, Copenhagen; McDonald’s Corporation, Woodland Hills, California; McNay Art Museum, San Antonio, Texas; the Metropolitan Museum of Art, New York; Milwaukee Art Center, Wisconsin; the Mint Museum of Art, Charlotte, North Carolina; Musuem of Fine Arts, Boston; The Museum of Fine Arts, Houston; Museum of the Twentieth Century, Vienna, Austria; the Museum of Modern Art, New York; Nassau County Museum of Art, Roslyn, New York; the National Gallery of Australia, Canberra; the New Jersey State Museum, Trenton; the Power Gallery of Contemporary Art, Sydney, Australia; Prudential Life Insurance Company, Newark, New Jersey; Rose Art Museum, Brandeis University, Waltham, Massachusetts; the San Francisco Museum of Modern Art, California; the Santa Barbara Museum, California; the Singapore Art Museum; the Solomon R Guggenheim Museum, New York; the Tate Gallery, London; TSO Financial Corporation, Willow Grove, Pennsylvania; the Walker Art Center, Minneapolis; the Whitney Museum of American Art, New York; the Wichita Art Museum, Kansas; and the William Jewell College, Liberty, Missouri
AWARDS
1975, Guggenheim Fellowship
1989, National Endowment for the Arts Visual Artist Grant
1992, Elected to the National Academy of Design
1993, Elected to National Academy of Design as Full Member
1997, Print Club of New York Print Commission
2004, Arts Award for Lifetime Achievement & Contribution to the Cultural Life of Columbia County SOLO EXHIBITIONS
Perdalma Gallery, New York, 1953
Perdalma Gallery, New York, 1954
Perdalma Gallery, New York, 1955
Grand Central Moderns Gallery, New York, 1965.
University of Manitoba, Canada, Western Canadian Art Circuit, 1967.
Loeb Center, New York University, 1968.
Rose Fried Gallery, New York, 1968.
University of Manitoba, Canada, Western Canadian Art Circuit, 1968.
Rose Fried Gallery, New York, 1969.
University of Manitoba, Canada, Western Canadian Art Circuit, 1969.
Tibor de Nagy Gallery, New York, 1971.
Benson Gallery, Bridgehampton, Long Island, New York, 1972
Santa Barbara Museum, Santa Barbara, California, 1972
Tibor de Nagy Gallery, New York, 1972
Tom Bortolazzo Gallery, Santa Barbara, California, 1972
Galerie Karl Flinker, Paris, 1973
Lubin House, Syracuse University, New York, 1973
McNay Museum, San Antonio, Texas, 1973
Tibor de Nagy Gallery, New York, 1973
Tibor de Nagy Gallery, New York, 1974
Tibor de Nagy Gallery (Watson/de Nagy & Co ), Houston, Texas, 1974.
André Emmerich Gallery, New York, 1975.
Beaumont Museum, Beaumont, Texas, 1975.
Everson Museum of Art, Syracuse, New York, 1975.
Galerie André Emmerich, Zurich, Switzerland, 1975.
Galerie Wentzel, Hamburg, Germany, 1975.
Tibor de Nagy Gallery, New York, 1975.
André Emmerich Gallery, New York, 1976.
Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1976.
Watson/de Nagy & Co., Houston, Texas, 1976.
André Emmerich Gallery, New York, 1977.
Boston Museum of Fine Arts, Boston, Massachusetts, 1977
Edmonton Art Gallery Museum, Edmonton, Canada, 1977.
Protetch-McIntosh Gallery, Washington DC, 1977.
Richard Gray Gallery, Chicago, 1977.
Tibor de Nagy Gallery, New York, 1977
Alice Simsar Gallery, Ann Arbor, Michigan, 1978
André Emmerich Gallery, New York, 1978
Eric Makler Gallery, Philadelphia, Pennsylvania, 1978
Galerie André Emmerich, Zurich, Switzerland, 1978
Galerie Wentzel, Hamburg, Germany, 1978
Greenville County Museum of Art, Greenville, South Carolina, 1978
Hokin Gallery, Palm Beach, Florida, 1978
Mint Museum of Art, Charlotte, North Carolina, 1978
Watson/de Nagy & Co., Houston, Texas, 1978.
Weatherspoon Art Gallery Museum, Greensboro, North Carolina, 1978.
Allrich Gallery, San Francisco, California, 1979.
André Emmerich Gallery, New York, 1979.
Ashville Art Museum, Ashville, North Carolina, 1979.
Hunter Museum of Art, Chattanooga, Tennessee, 1979.
Galerie Hilger-Schmeer, Duisburg, Germany, 1979.
Galerie Regards, Paris, 1979.
Meredith Long & Co., Houston, Texas, 1979.
Richard Gray Gallery, Chicago, Illinois, 1979.
West Coast Gallery, Newport Beach, California, 1979.
André Emmerich Gallery, New York, 1980
Dorsky Gallery, New York, 1980
Gallery One, Toronto, Canada, 1980
Meredith Long & Co , Houston, Texas, 1980
Thomas Segal Gallery, Boston, Massachusetts, 1980
Tibor de Nagy Gallery, New York, 1980
Allrich Gallery, San Francisco, California, 1981
André Emmerich Gallery, New York, 1981
Allrich Gallery, San Francisco, California, 1982
Downstairs Gallery, Edmonton, Alberta, Canada, 1982
Galerie Regards, Paris, 1982.
Gallery One, Toronto, Canada, 1982.
Hokin Gallery, Bay Harbor Islands, Florida, 1982.
Meredith Long & Co., Houston, Texas, 1982.
André Emmerich Gallery, New York, 1983.
Aronson Gallery Limited, Atlanta, Georgia, 1983.
Galerie Ulysses, Vienna, Austria, 1983
Ivory/Kimpton Gallery, San Francisco, California, 1983.
Meredith Long & Co., Houston, Texas, 1983.
André Emmerich Gallery, New York, 1984.
Frances Aronson Gallery Ltd., Atlanta, Georgia, 1984.
Gallery One, Toronto, Canada, 1984.
Hokin/Kaufman Gallery, Chicago, 1984.
Meredith Long & Co., Houston, Texas, 1984.
Thoman Segal Gallery, Boston, Massachusetts, 1984.
Thomas Smith Fine Arts, Fort Wayne, Indiana, 1984.
Woltjen/Udell Gallery, Edmonton, Canada, 1984
André Emmerich Gallery, New York, 1985
Frances Aronson Gallery Ltd , Atlanta, Georgia, 1985
Galerie Wentzel, Cologne, West Germany, 1985
Hokin Gallery, Palm Beach, Florida, 1985
Ivory/Kimpton Gallery, San Francisco, California, 1985
Meredith Long & Co , Houston, Texas, 1985
André Emmerich Gallery, New York, 1986
Gallery One, Toronto, Canada, 1986
Hokin/Kaufman Gallery, Chicago, Illinois, 1986
Ivory/Kimpton Gallery, San Francisco, California, 1986.
Meredith Long Gallery, Houston, Texas, 1986.
Ruth Bachofner Gallery, Los Angeles, California, 1986.
André Emmerich Gallery, New York, 1987.
Art Museum of Santa Cruz County, Santa Cruz, California, 1987.
Galerie Wentzel, Cologne, West Germany, 1987.
Graystone Gallery, San Francisco, California, 1987.
Meredith Long & Co., Houston, Texas, 1987.
Mixografia Gallery, Los Angeles, 1987.
Ruth Bachofner Gallery, Los Angeles, 1987.
Smith Anderson Gallery, Palo Alto, California, 1987.
Tibor de Nagy Gallery, New York, 1987
Aronson Gallery, Atlanta, Georgia, 1988
Associated American Artists, New York, 1988
Carpenter Center for the Visual Arts, Harvard University, Cambridge, Massachusetts, 1988
Gallery One, Toronto, Canada, 1988
Hokin Gallery, Palm Beach, Florida, 1988
Hokin/Kaufman Gallery, Chicago, Illinois, 1988
Meredith Long & Co , Houston, Texas, 1988
Williams Center for the Arts, Lafayette College, Easton, Pennsylvania, 1988.
André Emmerich Gallery, New York, 1989.
Meredith Long & Co., Houston, Texas, 1989.
Ruth Bachofner Gallery, Los Angeles, California, 1989.
André Emmerich Gallery, New York, 1990.
Associated American Artists, New York, 1990.
Elca London Gallery, Montreal, Canada, 1990.
Galerie Wentzel, Cologne, Germany, 1990.
Gallery One, Toronto, Canada, 1990.
Hokin Gallery, Bay Harbor, Florida, 1990.
Meredith Long Gallery, Houston, Texas, 1990.
Posner Gallery, Milwaukee, Wisconsin, 1990.
Smith Anderson Gallery, Palo Alto, California, 1990
André Emmerich Gallery, New York, 1991.
Dorsky Gallery, New York, 1991.
Gallery One, Toronto, Canada, 1991.
LACA Gallery, Los Angeles, California, 1991.
Meredith Long Gallery, Houston, Texas, 1991
Hokin/Kaufman Gallery, Chicago, 1992
Levinson/Kane Gallery, Boston, Massachusetts, 1992
Meredith Long & Co , Houston, Texas, 1992
Rose Art Museum, Brandeis University, Waltham, Massachusetts, 45 Year Retrospective: Paintings, Sculpture,
Drawings, and Prints, 1992
Smith Anderson Gallery, Palo Alto, California, 1992
André Emmerich Gallery, New York, 1993
Galerie Winkelmann, Düsseldorf, Germany, 1993.
Gallery One, Toronto, Canada, 1993.
Long Fine Art Ltd., New York, 1993.
The Remba Gallery, Santa Monica, California, 1993.
The Arkansas Arts Center, Little Rock, Arkansas, 1994.
Palmer Art Gallery, University of Pennsylvania, Philadelphia, Pennsylvania, 1994.
America House Berlin, Germany, 1995.
Helander Gallery, Palm Beach, Florida, 1995.
Long Fine Art, New York, 1995.
Scarabb Gallery, Cleveland, Ohio, 1995.
Southern Arkansas University, Magnolia, Arkansas, 1995
Flanders Contemporary Art, Minneapolis, Minnesota, 1996
Gallery One, Toronto, Canada, 1996
Jaffe Baker Gallery, Boca Raton, Florida, 1996
Lyon College, Battsville, Arkansas, 1996
Salander-O’Reilly Galleries, New York, 1996
University of Central Arkansas, Dorsky, Drawing Retrospective Traveling Exhibition, 1996
Flanders Contemporary Art, Minneapolis, Minnesota, 1997.
Long Fine Art, New York, 1997.
Robert Kidd Gallery, Birmingham, Michigan, 1997.
Salander-O’Reilly Galleries, New York, 1997.
Harmon-Meek Gallery, Naples, Florida, 1998.
K.L. Fine Arts, Highland Park, Chicago, 1998.
Tsende Gallery, West Hollywood, California, 1998.
Dorothy Blau Gallery, Bay Harbor Islands, Florida, 1999.
Gallery One, Toronto, Canada, 1999.
Salander-O’Reilly Galleries, New York, 1999.
Cumberland Gallery, Nashville, Tennessee, 2000.
Dorothy Blau Gallery, Bay Harbor Islands, Florida, 2000. Gallery One, Toronto, Canada, 2000
1Remba Gallery/Mixografia Workshop, West Hollywood, California, 2000.
Dorothy Blau Gallery, Bay Harbor Islands, Florida, 2002.
Flanders Contemporary Art, Minneapolis, Minnesota, Remembering Stanley Boxer: 1926-2000, 2002
Columbia County Council on the Arts, Hudson, New York, 2004
Erlich Gallery, Marblehead, Massachusetts, Masterworks: Stanley Boxer, 2004
Salander-O’Reilly Galleries, New York, Stanley Boxer: Late Paintings, 2004
Madelyn Jordon Fine Art, Scarsdale, New York, Stanley
Boxer – Late Paintings and Prints, 2005
Elaine Baker Gallery, Boca Raton, Florida, 2006
Housatonic Museum of Art, Bridgeport, Connecticut, 2007.
Jerald Melberg Gallery, Charlotte, North Carolina, 2007.
Ezair Gallery, Southampton, New York, 2009.
Joel & Lila Harnette Museum of Art, University of Richmond, Virginia, (traveling to Housatonic Museum of Art,
Bridgeport, Connecticut; Boca Raton Museum of Art, Boca Raton, Florida), Remembering Stanley Boxer, 2009.
Elaine Baker Gallery, Boca Raton, Florida, 2010.
The Forman Gallery, Hartwich College, Oneonta, New York, 2011
Kouros Gallery, New York, Two Modernists Revisted –Stanley Boxer & Guy Danielle: Solo Survey Exhibition, 2011
Spanierman Modern, New York, Stanley Boxer, 2012
Baker Sponder Gallery, Boca Raton, FL, Revisiting Stanley Boxer, 2013
Spanierman Modern, New York, Radiance The Paintings of Stanley Boxer 1970s-1990s, 2013
Baker Sponder Gallery, Boca Raton, FL, Works from The Eighties and Nineties, 2014.
Berry Campbell Gallery, Stanley Boxer, New York, 2016.
Berry Campbell Gallery, New York, Gradations –paintings from 1976 to 1984, 2018.
Berry Campbell Gallery, New York, 2021
MUSEUM COLLECTIONS
Ackland Art Museum, The University of North Carolina at Chapel Hill
Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts
Albright-Knox Museum, Buffalo, New York
Ashville Art Museum, Ashville, North Carolina
Ball State University, Muncie, Indiana
Birla Museum of Art, India
Boca Raton Museum of Art, Florida
Business Community for the Arts, New York Center for the Arts, Vero Beach, Florida
Ciba-Geigy Corporation, West Caldwell, New Jersey
Chase Manhattan Bank, New York
Columbia Museum, South Carolina
Corcoran Gallery of Art, Washington, DC
Corning Glass Corporation, Ohio
Dayton Art Institute, Ohio
Des Moines Art Center, Iowa
Edmonton Art Gallery, Canada
Everson Museum of Art, Syracuse, New York
Hirshhorn Museum and Sculpture Garden, Washington, DC
Houston Museum of Art, Texas
IBM Corporation, New York
Inexco Corporation, Houston, Texas
The Jane Voorhees Zimmerli Art Museum, Rutgers University, New Jersey
Joel & Lila Harnett Museum of Art, University of Richmond Museums, North Carolina
Johnson Museum, Cornell University, Ithaca, New York
Kemper Art Museum, Washington University, Saint Louis, Missouri
Lafayette Museum of Art, Indiana
Louisiana Museum, Copenhagen, Denmark
McDonald’s Corporation, Woodland Hills, California
McNay Art Museum, San Antonio, Texas
Metropolitan Museum of Art, New York
Milwaukee Art Center, Wisconsin
Mint Museum of Art, Charlotte, North Carolina
Museum of Fine Arts, Boston, Massachusettts
The Museum of Fine Arts, Houston, Texas
Museum of the Twentieth Century, Vienna, Austria
Museum of Modern Art, New York
Nassau County Museum of Art, Roslyn, New York
National Gallery of Australia, Canberra
New Jersey State Museum, Trenton
Power Gallery of Contemporary Art, Sydney, Australia
Prudential Life Insurance Company, Newark, New Jersey
Rose Art Museum, Brandeis University, Waltham, Massachusetts
San Francisco Museum of Art, California
Santa Barbara Museum, California
Singapore Art Museum, Singapore
Solomon R. Guggenheim Museum, New York
Tate Gallery, London
TSO Financial Corporation, Willow Grove Pennsylvania
Walker Art Center, Minneapolis, Minnesota
Whitney Museum of American Art, New York
