Stanley Boxer Estate | Sponder Gallery

STANELY

BOXER

Estate

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STANELY

BOXER

Estate

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

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December 2025

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 5 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

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.

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.

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 7 to be excavated.

BOXER’S SURFACES REJECT ICONICITY, GESTURE, OR SINGULAR INTERPRETATION. INSTEAD, THEY PRESENT THEMSELVES AS FIELDS OF BECOMING, DENSE WITH PICTORIAL ARCHAEOLOGY AND ABSTRACT MEMORY.

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.

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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.

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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.

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STANLEY BOXER (ESTATE)

Temperedpealetoa 1988, OIL & MIXED MEDIA ON CANVAS, 60 X 50 IN.

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STANLEY BOXER (ESTATE)

Gonetimesgonethatseethe 1989 OIL & MIXED MEDIA ON CANVAS, 70 X 50 IN.

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STANLEY BOXER (ESTATE)

Moonlightscream 1996 OIL AND MIXED MEDIA ON CANVAS, 57 X 57 IN.

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STANLEY BOXER (ESTATE)

Pawneebloodedbrood 1989 OIL & MIXED MEDIA ON CANVAS, 60 X 65 IN.

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STANLEY BOXER (ESTATE)

Weepedtendrilshoarsighings 1977 MIXED MEDIA ON CANVAS, 56 X 48 IN.

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STANLEY BOXER (ESTATE)

Gossamarsplinteredstygian 1983 MIXED MEDIA ON CANVAS, 52 X 100 IN.

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STANLEY BOXER (ESTATE)

Blanchedcrustingspringentrance 1981 MIXED MEDIA ON CANVAS, 80 X 22 IN.

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STANLEY BOXER (ESTATE)

Pitchedheatbrayed 1984 MIXED MEDIA ON CANVAS, 25 X 30 IN.

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STANLEY BOXER (ESTATE)

Silentsucculences 1987 MIXED MEDIA ON CANVAS, 96 X 15 IN.

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STANLEY BOXER (ESTATE)

Highwesttawnny 1987 MIXED MEDIA ON CANVAS, 80 X 30 IN.

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STANLEY BOXER (ESTATE)

Mesasoar 1988 OIL AND MIXED MEDIA ON CANVAS, 25 X 80 IN.

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STANLEY BOXER (ESTATE)

Plashofmoon 1988 OIL AND MIXED MEDIA ON CANVAS, 65 X 60 IN.

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STANLEY BOXER (ESTATE)

Murmuringripofbledappeal 1985 OIL ON LINEN, 40 X 105 1/2 IN.

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STANLEY BOXER (ESTATE)

Graze 1984 OIL ON LINEN, 7 1/4 X 43 1/4 IN.

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STANLEY BOXER (ESTATE)

Grimslitherofaviewincohate 1982 OIL ON LINEN, 70 X 70 IN.

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STANLEY BOXER (ESTATE)

Wreathedplungeofpoppyslather 1978 OIL AND MIXED MEDIA ON CANVAS, 36 X 96 IN.

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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

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