FY25 Annual Report

The Menil Collection 2025 Annual Report

2025

The Menil Collection Annual Report

2021 Contents 4

Letter from the Director

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Mission Statement

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Board of Trustees

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Exhibitions

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Acquisitions

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Scholarship

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Community

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Support

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Behind the Scenes

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Financials

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Staff

The Menil Collection Annual Report

Letter from the Director

We are pleased to share this annual report highlighting notable events that took place across the Menil Collection’s neighborhood of art during Fiscal Year 2025 (July 1, 2024–June 30, 2025).

2025 Annual Report

The Menil Collection

Rebecca Rabinow. Photo: Sarah Hobson

Fiscal Year 2025 was an exciting and extremely productive year for the Menil Collection, one marked by extraordinary gifts, internationally acclaimed exhibitions, and significant progress on many of the institution’s strategic goals.

Over the course of the year, the Cy Twombly Gallery was refurbished in anticipation of its 30th anniversary. New lighting was installed throughout the building, and the foyer was rearranged to call attention to the room of plaster sculptures. A visitor seating area was added, along with a custom-designed visitor services desk with a shelf for Twombly-related publications. In the main museum building, a fully reconceived installation of A Surrealist Wunderkammer opened to the public in November 2024. Notably, the previous wall-sized permanent case was replaced with one that is accessible, so that for the first time, the objects in the case are available to staff, scholars, and conservators.

FY25 marked a particularly robust period in the Menil’s long history of engaging with contemporary artists. Tacita Dean: Blind Folly, the first major museum survey of Dean’s work in the United States, highlighted the artist’s approach to creating art through unmediated and chance-based drawing processes. The show was accompanied by a pocket-sized curatorial essay and an artist book created by Dean after spending the night in the Cy Twombly Gallery. Important displays at the Menil Drawing Institute included Ronny Quevedo’s C A R A A C A R A (the annual wall drawing commission) and the ambitious spring exhibition What drawing can be: four responses, in which four artists created site-specific installations that pushed the boundaries of drawing. Toward the end of the fiscal year, the Menil opened The Space Between Looking and Loving: Francesca Fuchs and the de Menil House, a poetic exhibition

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that included sketches and paintings by Houston-based artist Francesca Fuchs.

Another curatorial highlight was Joe Overstreet: Taking Flight, an exhibition touted as a “must-see” by ARTnews and other outlets soon after it opened in January 2025. It was accompanied by an exhibition catalogue with a detailed chronology of the artist’s life and copious photographs showing the works installed at the museum.

The Menil prides itself on generously lending to other institutions. Among the loans made in FY25, twenty-four paintings, two objects, and three archival items by René Magritte were sent to the Art Gallery of New South Wales for Australia’s first ever retrospective of the Belgian surrealist artist.

A major goal of the museum’s strategic plan was the creation of a new website. After three years of sustained work, it debuted in July 2025, enhancing access to the Menil’s collections, deepening research capabilities, and inviting meaningful engagement with the art and ideas that define the museum. For many, it is the first introduction to the museum and its 30-acre campus.

Speaking of the campus, a new addition to the neighborhood is Hotel Saint Augustine, which opened in January 2025 across the street from the Menil on Main Street. The boutique property, which is neither controlled nor operated by the Menil, is a wonderful complement to the artistic ethos of the museum and its surroundings.

On the following pages, you will read about many of these projects in more detail. Before closing, I would like to call special attention to two groups of artwork that were accessioned by the Menil this year.

First, after the death of Trustee Janie C. Lee, her promised gift of fifty-seven drawings, augmented by two more in her bequest, were transferred to the museum. Janie was an early champion of the Menil Drawing Institute, and it is in part thanks to her vision that this year the Menil also received a major gift of 121 drawings from the Cy Twombly Foundation.

Sincerely,

Rebecca Rabinow

Mission Statement

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Board of Trustees

The Menil Collection is committed to its founders’ belief that art is essential to the human experience. Set in a residential Houston neighborhood, the Menil fosters direct, personal encounters with works of art and welcomes all visitors free of charge to its museum buildings and surrounding green spaces.

Values Statement

The Menil’s institutional culture and actions are guided by the following core values:

Louisa Stude Sarofim, Chair Emerita Janet M. Hobby, Chair Doug Lawing, President Leslie Elkins Sasser, Vice President James W. Stewart, Jr., Treasurer Eddie R. Allen III, Secretary Nancy Abendshein Suzanne Deal Booth Hilda Curran Cheryl Finley

Inclusivity We are committed to being equitable, inclusive, and welcoming to all people.

Aziz Friedrich Elizabeth Glassman Barbara Goot-Gamson Cecily E. Horton George B. Kelly Dillon Kyle Alison Leland Isabel Lummis Francois de Menil Clémence Molin Franci Neely Anaeze Offodile II David Ruiz Mark Wawro Miles Glaser (1925–2004), Emeritus

Integrity We strive toward transparency and accountability, and we actively work to combat bias and racism in all of our practices, interactions, and activities.

Empathy We are a small staff who work closely together.

We listen to different points of view and are committed to acting with kindness, respect, and understanding toward one another.

Menil Council

Stephanie Aleixo Chinhui Juhn Allen Kristen Berger Michael Cannon Stephanie Cockrell Margaret Vaughan Cox Caroline Finkelstein David Fitch I.H. Kempner III Marley Lott Ransom Lummis Nancy McGregor Manne Poppi Massey David Moriniere Cullen Muse

Carol Neuberger Judy Nyquist Jessica Phifer Harry C. Pinson Mary Hammon Quinn Victoria Salem Paul Seifert Kelly R. Silvers Aliyya Stude Patrick G. Wade Morris Weiner Lea Weingarten William H. White Barry Young

Founding Benefactors

Sylvie and Eric Boissonnas The Brown Foundation, Inc. Edmund and Adelaide de Menil Carpenter The Cullen Foundation Margaret W. and J. A. Elkins, Jr. The Charles Englehard Foundation Fariha and Heiner Friedrich Hobby Foundation Houston Endowment Inc. Caroline Weiss Law

The Andrew W. Mellon Foundation Dominique de Menil Susan and Francois de Menil Annalee G. Newman Susan E. and Roy S. O’Connor Fayez Sarofim & Co. Louisa Stude Sarofim Scaler Foundation, Inc. Annette Schlumberger The Wortham Foundation

Excellence We uphold the highest professional standards.

We consistently strive to innovate those standards and exceed expectations.

2025 Annual Report

The Menil Collection

Intellectual Curiosity Guided by our founders’ vision, we are committed to being socially and culturally aware, to pursuing new and challenging ideas, and to advancing new scholarship and new perspectives.

Community We aim to contribute to the cultural vibrancy of our diverse community by being a site for learning, sharing, and the free exchange of ideas. We are a thoughtful and active member of the Montrose and greater Houston community; we are a good neighbor and responsible partner.

Diversity and Inclusion Statement

Firm in the belief that art is essential to the human experience, the Menil Collection remains free to all, always. From their philanthropic vision to their work with artists, our founders sought to combat prejudice and champion social justice. This legacy lives on in our work and mission, to which diversity, inclusion, and equitable representation are fundamental.

True commitment to diversity and inclusion is an active process; we are dedicated to the work of listening, learning, and taking action that this ongoing commitment necessitates. It is our responsibility to reflect the diversity of our community, from our galleries and programming to our offices and green spaces. At the Menil, you are included, welcomed, and needed.

Cy Twombly Gallery Anniversary & Gifts

In FY25, in honor of the 30th anniversary of the Cy Twombly Gallery, the Cy Twombly Foundation gifted the Menil Collection two rare early paintings. The Menil’s freestanding Cy Twombly Gallery was inaugurated in February 1995 and remains the only permanent retrospective exhibition devoted to the artist’s oeuvre. It is an international destination for the study, presentation, and appreciation of Twombly’s work. The art on view spans five decades of the artist’s paintings and sculptures, from his formative years during the 1950s to the end of his life, when he was investigating themes of spirituality, mythology, loss, and the passage of time.

With the Twombly Foundation’s gift of Volubilus, 1953, and Untitled, 1954, two paintings previously on long-term loan to the museum, the Menil now owns all works on view inside the Twombly Gallery.

Volubilus, titled after the site of an ancient city in present-day Morocco, has arch-like forms drawn in the wet paint that recall Romanera architecture. During his first visit to Europe, Twombly drew inspiration from ancient Mediterranean history and geography, Greek and Roman mythology, classical literature, and poetry. Untitled, a creamcolored painting with loose graphite scrawls scratched into the surface, was made while Twombly was serving in the United States Army as a cryptologist. During this experimental period, he began drawing in the dark to understand how a gesture could convey emotions.

Later in the year, the Cy Twombly Foundation made an additional gift of 121 drawings by the artist, transforming the Menil’s ability to exhibit and study the artist’s practice. The gift elevates the visibility of the Menil Drawing Institute, which upholds drawing’s centrality in the lives of artists as well as its crucial role in modern and contemporary artistic culture.

The drawings were created between 1954 and 2005, with some sharing motifs and themes with paintings and sculptures in the Menil’s holdings. They feature materials ranging from graphite to oil paint, techniques such as drawing and collage, and themes that run through his artistic practice, including classical antiquity, eroticism, and nature.

The directors of the Cy Twombly Foundation traveled from across Europe to Houston in February 2025 to participate in anniversary programs and celebrations, which included the launch of a new artist book by Tacita Dean titled Why Cy.

2025 Annual Report

The Menil Collection

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Above: Cy Twombly, Scent of Madness, 1986. Watercolor, 19 11/16 × 14 ¼ in. (50 × 36.2 cm). The Menil Collection, Houston, Gift of the Cy Twombly Foundation in celebration of the 30th anniverary of the Cy Twombly Gallery. © Cy Twombly Foundation. Photo: Caroline Philippone Below: Cy Twombly, Volubilus, 1953. House paint, oil, crayon, and charcoal on canvas, 55 × 76 in. (139.7 × 193 cm).

The Menil Collection, Houston, Gift of the Cy Twombly Foundation in celebration of the 30th anniversary of the Cy Twombly Gallery. © Cy Twombly Foundation. Photo: Adam Neese and Paul Hester

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Exhibitions

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Wall Drawing Series: Ronny Quevedo September 13, 2024–August 10, 2025

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2025 Annual Report

The Menil Collection

Installation view of Ronny Quevedo, C A R A A C A R A, 2024, at the Menil Drawing Institute. Photo: Sarah Hobson

The Menil Collection presented the sixth installment of its site-specific Wall Drawing Series at the Menil Drawing Institute with a commission

by New York-based artist Ronny Quevedo (b. 1981).

The 36-foot triptych explored the relationship between origin, transfer, and translation, with each panel of the composition indicating a step in the artist’s process. Quevedo uses drawing, particularly schematic renderings, to explore the visual languages of abstraction, cartography, cosmology, and sport from across the Americas. In his wall drawing, the artist built upon these interests with interconnected diagrams and markings spread across panels to express the complex relationships between the body, home, field, globe, and celestial spaces.

Titled C A R A A C A R A, “face-to-face” in English, the work evoked the communication or confrontation that results when cultures or worlds collide. The title also relates to the visible side of the fabric, or “face,” in sewing patterns. By using dressmaker wax paper as his foremost material, Quevedo reproduced images in a way that displayed the transformation from the initial drawing to its conclusion, while simultaneously connecting with his mother’s history as a seamstress.

In speaking about his work, Quevedo said, “I’m fascinated with how unaligned objects can come together, and how we develop diagrams that map a neutral space. By connecting different symbolic representations, it provides a collective understanding and an entry point for myself and the viewer.”

The first panel of the work was created by smoothing blue dressmaker wax paper against the wall and imprinting marks using a bone folder—a small tool for folding and creasing, often used in bookbinding and origami—along with other tools to transfer blue lines. For the second panel, that same paper was pressed against the wall using heat, suffusing the surface with blue pigmented wax that retained traces of the previously transferred marks. In the third panel, the creased and eroded paper was turned face out and pasted onto the surface of the wall.

Quevedo’s final composition translates, mirrors, echoes, and even blurs earlier marks, forming a visual allegory of what we inherit from the past, how we inhabit the present, and what we will pass down to the future.

Wall Drawing Series: Ronny Quevedo was curated by Kelly Montana, Associate Curator.

This wall drawing was generously supported by Jereann Chaney; Dillon Kyle and Sam Lasseter; Scott and Judy Nyquist; Leslie and Shannon Sasser; Bill Stewart and Johanna Brassert; and Elizabeth and Barry Young.

Fragments of Memory September 20, 2024–January 26, 2025

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Sari Dienes, Peterboro, ca. 1949–53. Ink rubbing, cloth, and cardboard on paper, 31 15/16 × 23 11/16 in.

(81.1 × 60.2 cm). The Menil Collection, Houston, Gift of the Sari Dienes Foundation. © Sari Dienes Foundation/Artists Rights Society, New York.

Photo: Paul Hester

Fragments of Memory, a selection of works from the Menil Collection’s holdings, addressed how 20th- and 21st-century artists have placed personal experiences and historic events at the heart of their work.

Through the use of materials such as snapshots, collages, notes, and relics—which are often fragmentary, ephemeral, and deeply imbued with emotional weight—the past remains alive and replete with possibility. Events are revisited in multiple ways, creating alternate perspectives and proposing new understandings.

A 2019 acquisition by the Menil, Wardell Milan’s (b. 1977) Pulse, 2019, recalls the 2016 deadly mass shooting at an Orlando nightclub that targeted the city’s queer and Latin American communities. The artist’s decision to remember the victims in a vibrant dance celebration is intended as a message of resistance against calculated violence. Milan participated in an Artist Talk at the Menil Drawing Institute in fall 2024.

Another artist represented in the exhibition was Sari Dienes (1898–1992), who took inspiration from everyday objects and occurrences—like street detritus or a chance rendezvous. In Letterbox, 1940s– 1980s, made over several decades, Dienes fused artwork, community portrait, and alternative archives by juxtaposing personal correspondence from her friends and colleagues inside a found display case.

Memory, and how it fragments as time passes, is a foremost theme in artist Luc Tuymans’s (b. 1958) work. My Door I–VI, 2013, is a set of watercolors depicting a figure observing a waning sun.

By fracturing the scene into six similar but distinctly different perspectives, the artist challenges any claim to a complete or accurate depiction. For Tuymans and others in the exhibition, the idea of the fragment surfaces in their exploration of vision, identity, and elegy.

The show also included work by James Lee Byars, Jacob El Hanani, Joe Goode, Jasper Johns, Mark Lombardi, Jim Love, Walter Tandy Murch, Denyse Thomasos, Cy Twombly, and Danh Vo. Fragments of Memory was curated by Kelly Montana, Associate Curator.

This exhibition was generously supported by Diane and Michael Cannon; Caroline Huber; Susan and Francois de Menil; Sheila Noeth and Ted Dohmen; and by the City of Houston through Houston Arts Alliance.

Out of Thin Air: Emerging Forms September 20, 2024–January 26, 2025

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2025 Annual Report

The Menil Collection

Sonia Gechtoff, Untitled, 1956–57. Graphite on paper mounted on board, 61 × 40 in. (154.9 × 101.6 cm).

The Menil Collection, Houston, Gift of the artist in the memory of Walter Hopps. © Menil Foundation, Inc. Photo: James Craven

Out of Thin Air: Emerging Forms at the Menil Drawing Institute examined drawing as a meditative process of finding form, whether abstract or representational. Twenty-nine works—dating from the late 1930s to the present—were united by a visual language: emerging forms. Neither fully resolved nor strictly defined, the evocative artworks selected from the Menil Collection’s permanent holdings are open, suggestive images that seem as though they are still becoming.

On view for the first time at the Menil was a group of drawings

by American artist Gregory Masurovsky (1929–2009), who sought to “express the forces that animate the universe” with pen and ink on paper. The marks comprising his delicate drawings hover between materialization and imminent dispersal. Described by the artist as “a sort of ambiguity rendered with precision,” his drawings suggest fleeting swarms, vibrations, or cloud formations.

Acquired by the museum in 2023 and on view in this presentation was Gustavo Díaz’s (b. 1969) Imaginary Flight Patterns V, 2021. This work explores the notion of complexity through an intricate network of marks that recalls electrical currents, aerial maps, or flocks of birds in flight. Díaz participated in an Artist Talk in October 2024.

Other evocative and seemingly ephemeral works in the exhibition included three of John Cage’s (1912–1992) immersive River Rocks and Smoke drawings from 1990 and two drawings by Japanese artist Hiroyuki Doi (b. 1946), formed through the accumulation of minute circles, calling to mind celestial galaxies, rapidly multiplying cells, or cresting waves.

A large gestural drawing by Sonia Gechtoff (1926–2018) features wispy graphite lines poised in space as if shaped by a gust of wind into a figural form that straddles representation and abstraction.

Lee Bontecou’s (1931–2022) cosmic architectures similarly hover suspended at the center of large sheets, unlocking worlds beyond that seem to be continuously coming into view.

Out of Thin Air: Emerging Forms was curated by Kirsten Marples, Assistant Curator.

This exhibition was generously supported by Diane and Michael Cannon; Caroline Huber; Susan and Francois de Menil; Sheila Noeth and Ted Dohmen; and by the City of Houston through Houston Arts Alliance.

Tacita Dean: Blind Folly October 11, 2024–April 19, 2025

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Tacita Dean, Beauty, 2006. Gouache on black and white fibre-based photograph mounted on paper, 141 × 147 in. (358.1 ×373.4 cm). San Francisco Museum of Modern Art; Purchase through a gift of Raoul Kennedy in memory of Patricia A. Kennedy. © Tacita Dean. Photo: Tenari Tuatagaloa

Tacita Dean: Blind Folly was the first major museum survey in the United States of work by British European visual artist Tacita Dean (b. 1965). The exhibition, organized in close collaboration with the artist, featured more than one hundred works across a variety of mediums, from film to printmaking.

The show highlighted the artist’s large-scale “portraits” of trees; monumental blackboard drawings like The Montafon Letter, 2017, made with a simple piece of white chalk; and groups of rarely shown drawings on paper from her studio, found postcards, and albumen photographs.

It also included new works inspired by Dean’s time in Houston, such as Found Cy, Houston, 2024, and a series of chalk drawings created on found pieces of worn green slates. A separate gallery presented a rotating group of her 16mm films: Claes Oldenburg draws Blueberry Pie, 2023; The Friar’s Doodle, 2009; Edwin Parker, 2011; and The Green Ray, 2001.

Blind Folly, the show’s title, reflects Dean’s desire to let the behavior of her mediums dictate the results of her work. For the artist, the playful and old-fashioned phrase connoting foolishness represents the role chance and fate play in the creative act. “It’s always ‘Blind Folly’ for me,” the artist said, “because I never know where I’m going.

And I need to not know where I’m going.”

Blind Folly or How Tacita Dean Draws by Michelle White was published in conjunction with the exhibition’s opening in October 2024.

The text, illustrated with more than forty images, is based on seven years of conversation between the author and the artist.

Dean returned to Houston for the Cy Twombly Gallery’s 30th anniversary celebrations and participated in an Artist Talk and a book signing of Why Cy, a collection of the artist’s photographs of the Cy Twombly Gallery published on the occasion of the anniversary.

Tacita Dean: Blind Folly was curated by Michelle White, Senior Curator. The exhibition traveled to the Columbus Museum of Art, Ohio in October 2025.

Underwriting for this exhibition was generously provided by Lea Weingarten; Nina and Michael Zilkha; and Texas Commission on the Arts. Major funding for this exhibition was provided by Clare Casademont and Michael Metz; Cecily E. Horton; Nancy O’Connor; and Morris A. Weiner and Leslie Field. Additional support came from Mary and Marcel Barone; Hilda Curran; John R. Eckel, Jr. Foundation; Cece and Mack Fowler; Frost Bank; Barbara and Michael Gamson; Janet and Paul Hobby; Caroline Huber; Linda and George Kelly; Anne Levy Charitable Trust; Rebecca Marvil and Brian Smyth; Susan and Francois de Menil; Fan and Peter Morris; Franci Neely; Carol and David Neuberger; Sheila Noeth and Ted Dohmen; Mark W. and Angela Laswell Smith; and the City of Houston through Houston Arts Alliance.

Joe Overstreet: Taking Flight January 24–July 13, 2025

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2025 Annual Report

The Menil Collection

Joe Overstreet, HooDoo Mandala, 1970. Acrylic on canvas with metal grommets and cotton rope, 90 × 89 1/2 in. (228.6 × 227.3 cm). Neil Lane Collection. © Estate of Joe Overstreet/Artist Rights Society (ARS), courtesy of Eric Firestone Gallery, New York. Photo: Jenny Gorman

Joe Overstreet: Taking Flight featured vibrant abstract paintings created by the artist Joe Overstreet (1933–2019). In a career that spanned sixty years, he consistently innovated novel approaches to non-representational painting, imbuing it with both personal and political meaning.

He advanced abstraction as an expansive tool for exploring national history, current events, and his own biography as a Black artist in the United States.

The exhibition focused on three of his most significant series: shaped canvas constructions from the 1960s; unstretched paintings from the 1970s, known as Flight Patterns; and monumental abstractions from the 1990s. To create the Flight Patterns, Overstreet spliced, stained, and stitched together canvases that he tethered to the wall, floor, and ceiling with taut ropes. Described by the artist as “birds in flight” able to “take off, to lift up, rather than be held down,” the resulting forms transgress the traditional boundaries of two-dimensional painting, inaugurating a dynamic relationship between object, viewer, and architecture. The Flight Patterns followed his intricately constructed shaped canvases of the late 1960s, which often referenced the Civil Rights movement and drew inspiration from African design and mythology. Several decades later, following an inspiring trip to Senegal in 1992, Overstreet created a series of monumental and luminous abstractions that address the African diaspora and explore questions of inheritance and memory.

In February 2025, the DeLUXE Theater in Houston presented The Art of Legacy: Joe Overstreet & The Black Arts Center, a related exhibition that paid tribute to the artist, who had a solo exhibition at that site in 1972.

Joe Overstreet: Taking Flight was curated by Natalie Dupêcher, Associate Curator of Modern Art, and organized in conjunction with the artist’s estate. The exhibition included key loans from United States museums and collections, as well as extensive and rarely exhibited work from the artist’s estate. It was accompanied by a fully illustrated catalogue featuring new scholarly essays, a detailed chronology, and all-new photography of the installation at the Menil.

The exhibition traveled to the Mississippi Museum of Art, Jackson, in November 2025.

Major funding for this exhibition was provided by the Henry Luce Foundation; and Franci Neely. Additional support came from Ellen Benninghoven and Michael Schafer; Clare Casademont and Michael Metz; Barbara and Michael Gamson; Janet and Paul Hobby; Linda and George Kelly; the National Endowment for the Arts; The Oshman Foundation; Mark Wawro and Melanie Gray; and the City of Houston through Houston Arts Alliance.

What drawing can be: four responses March 21, 2025–August 10, 2025

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Installation view of Teresita Fernández, Scorched Earth (Lament), 2025, in What drawing can be: four responses. Photo: Lauren Marek

Four contemporary artists stretched the boundaries of drawing in the exhibition What drawing can be: four responses. Jillian Conrad, Teresita Fernández, Tony Lewis, and Constantin Luser each were assigned a gallery space at the Menil Drawing Institute to explore the experimental potential of the medium and its connections with other arts, such as sculpture and architecture. The exhibition aligned with the Drawing Institute’s mission, which recognizes drawing’s centrality in the lives of artists and its crucial role in modern and contemporary artistic culture.

Houston artist Jillian Conrad (b. 1970) challenged perceptions of the tangible and the intangible. Exploring the motifs of nature, intimacy, and alchemy, Conrad created minimal, yet playful works for this presentation. In one of the works, titled Cetus, the artist recreated the constellation Cetus, the Sea Monster, with pliable metals, jewelry chains, and hand-blown glass orbs depicting stars.

Teresita Fernández (b. 1968) drew inspiration from landscape and mapping. For her installation, she used only one medium: charcoal.

The artist positioned narratives rooted in colonialism and violence, and visibility and erasure at the forefront of her piece, Scorched Earth (Lament), by creating an immersive, multi-sensory environment that evoked a cross section of earth’s strata.

Tony Lewis’s (b. 1986) ever-expanding engagement with drawing included Relatively Submerged, 2015, a massive graphite-laden sheet of paper weighing approximately fifty-pounds displayed in a vitrine set in a pile of crushed graphite.

Austrian artist Constantin Luser’s (b. 1976) three-dimensional “spatial drawings” were constructed from multiple brass wires. These kinetic floating sculptures cast elaborate shadows across drawings the artist made directly on the walls, creating a complex, visual exchange that amplified the networks of lines and challenged visitors’ perceptions.

Conrad and Fernández both participated in Artist Talks, and Luser performed a sound activation of his work.

What drawing can be: four responses was curated by Edouard Kopp, John R. Eckel, Jr. Foundation Chief Curator, and Kelly Montana, Associate Curator.

This exhibition was generously supported by the Susan Vaughan Foundation; Phileas—The Austrian Office for Contemporary Art; the John R. Eckel, Jr. Foundation; Dillon Kyle and Sam Lasseter; The Novum Foundation; Leslie and Shannon Sasser; Ann and Mathew Wolf Drawing Exhibition Fund; and the City of Houston through Houston Arts Alliance.

The Space Between Looking and Loving: Francesca Fuchs and the de Menil House May 23–November 2, 2025

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2025 Annual Report

The Menil Collection

Francesca Fuchs, Magenta Ernst, 2024. Acrylic on canvas over wood panel, 37 × 22 in. (94 × 55.9 cm). Courtesy of the artist, Inman Gallery, Houston, and Talley Dunn Gallery, Dallas. © Francesca Fuchs. Photo: Thomas R. DuBrock

In 1970, John de Menil wrote to German classical archeologist Dr. Werner Fuchs (1927–2016) seeking to identify the subject of a 2nd century Roman sculpture of a male torso in his collection.

Forty-nine years later, artist Francesca Fuchs (b. 1965) discovered black-and-white photographs of the marble torso in her father’s personal effects in Oxford, England, which led her to a carbon copy of John de Menil’s letter in the Menil’s archives.

Born in London and raised in Münster, Germany, Fuchs trained as a sculptor before completing her MFA at the Kunstakademie Düsseldorf, Germany. The following year, in 1996, she moved to Houston as a Core Program Fellow at the Museum of Fine Arts, Houston. Living and working in Houston ever since, Fuchs divides her time between her art studio in the city’s Heights neighborhood and faculty position at the Glassell School of Art. Fuchs’s serendipitous discovery of the photographs was the impetus for a series of initial sketches and paintings exploring her connection to the Roman sculpture and the de Menils. “I make my work thinking about the significance of objects,” Fuchs said, “making paintings of paintings, and paintings of objects I live with and love, trying to upend hierarchies from within the intimacies of domestic space.”

The Space Between Looking and Loving: Francesca Fuchs and the de Menil House represents Fuchs’s expanded meditation on these relationships with objects at the de Menil’s house. Archival photographs of the house provided the artist with a sense of the deep connections the de Menils had to the artworks they collected and lived with, one that mirrors the artist’s studied remaking of objects through painting. The exhibition featured new sketches and paintings by Fuchs that depicted objects the de Menils displayed in their Houston home alongside remade keepsakes from Fuchs’s childhood, rarely seen archival photographs of the house, and artworks from the museum’s collection.

The Space Between Looking and Loving: Francesca Fuchs and the de Menil House was curated by Paul R. Davis, Curator of Collections.

Major funding for this exhibition was generously provided by Cecily E. Horton. Additional support came from Franci Neely; Jacquelyn Barish; Mary and Marcel Barone; Hilda Curran; Jessica and Brian Leeke; Fan and Peter Morris; Scott and Judy Nyquist; Beverly and Howard Robinson; Karlsson and Brian Salek; Bill Stewart and Johanna Brassert; Wawro-Gray Family Foundation; Nina and Michael Zilkha; John Zipprich; and the City of Houston through Houston Arts Alliance.

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Installation view of Tacita Dean, Purgatory (3rd Cornice), 2021, in Tacita Dean: Blind Folly. Photo: Lauren Marek

Acquisitions

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Acquisitions

Magdalena Abakanowicz Polish, 1930–2017 Face (83T), 1982 Charcoal on paper 39 5/8 × 26 in. (100.6 × 66 cm) Bequest of Janie C. Lee 2024‑4.1

Frank Auerbach British, 1931–2024 Head of Jacob, 1984 Charcoal and chalk on paper 33 × 26 5/8 in. (83.8 × 67.6 cm) Bequest of Janie C. Lee 2024‑4.5

Headet Tree, 1992 Charcoal on paper 24 × 18 7/8 in. (61 × 48 cm) Bequest of Janie C. Lee 2024‑4.2

Head of Julia II, 1989 Charcoal on paper 30 1/4 × 22 3/4 in. (76.8 × 57.8 cm) Bequest of Janie C. Lee 2024‑4.6

Avigdor Arikha Israeli, 1929–2010 Knife, 1975 Watercolor on paper 9 3/8 × 12 3/8 in. (23.9 × 31.5 cm) Bequest of Janie C. Lee 2024‑4.3

Balthus French, 1908–2001 Study for Nude in Front of Mantel (Etude pour Nu devant la cheminée), 1954 Charcoal on paper 14 1/8 × 9 1/2 in. (35.8 × 24.1 cm) Bequest of Janie C. Lee 2024‑4.7

Untitled (Bread), 1975 Watercolor on paper 9 1/4 × 13 1/4 in. (23.5 × 33.7 cm) Bequest of Janie C. Lee 2024‑4.4

2025 Annual Report

The Menil Collection

Ruth Asawa, Untitled (FF.1211, Paul Lanier on Patterned Blanket), 1961. Felt-tipped pen on paper on board, 29 7/8 × 20 1/4 in. (75.9 × 51.4 cm). The Menil Collection, Houston, Purchased with funds provided by an anonymous donor, the William F. Stern Acquisitions Fund, the John R. Eckel, Jr. Foundation, and Nancy Abendshein. © Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), New York. Courtesy David Zwirner

Ruth Asawa American, 1926–2013 Untitled (SF.030, Blue Triangles on Brown), ca. late 1950s Watercolor, gouache, and graphite on board 30 × 28 in. (76.2 × 71.1 cm) Gift of the Cuneo Family 2024‑16 Untitled (FF.1211, Paul Lanier on Patterned Blanket), 1961 Felt‑tipped pen on paper on board 29 7/8 × 20 1/4 in. (75.9 × 51.4 cm) Purchased with funds provided by an anonymous donor, the William F. Stern Acquisitions Fund, the John R. Eckel, Jr. Foundation, and Nancy Abendshein 2024‑24

Tacita Dean, The Sublunaries (First Quarter), 2024. Enamel and mirror lacquer on found steam train windows, 12 1/8 × 17 3/16 × 3/16 in. (30.8 × 43.7 × 0.4 cm). Purchased with funds provided by Allison Sarofim and Patrick Seabase, Nora and Bob Ackerley, Caroline Huber, Bill Stewart and Johanna Brassert, Nina and Michael Zilkha, Franci Neely, Mark Wawro and Melanie Gray, and Clare Casademont and Michael Metz. © Tacita Dean. Photo: Studio Tacita Dean/Simon Hanzer

Cabbage (P.021), 1984 Offset lithograph 9 1/4 × 9 3/8 in. (23.5 × 23.8 cm) Gift of Ruth Asawa Lanier, Inc. 2025‑10.1 Untitled (P.001, Tied‑Wire Sculpture Drawing with Six Branches), 1995 Etching 29/100 26 1/2 × 22 1/4 in. (67.3 × 56.5 cm) Gift of Ruth Asawa Lanier, Inc. 2025‑10.2

Still Life with Fruits (Nature Morte aux Fruits), 1963 Watercolor and graphite on paper 10 3/4 × 15 in. (27.3 × 38.1 cm) Bequest of Janie C. Lee 2024‑4.8 Georg Baselitz German, born 1938 Untitled, 1967 Graphite and crayon on paper 26 3/8 × 18 1/4 in. (67.1 × 46.4 cm) Bequest of Janie C. Lee 2024‑4.9 Untitled (Greetings from Oslo [Gruß aus Oslo]), 1986 Charcoal on paper 39 1/4 × 27 1/2 in. (99.7 × 69.9 cm) Bequest of Janie C. Lee 2024‑4.10 Marc Bauer Swiss, born 1975 Drawing the Line, Memories (1981–1992), 2023 Graphite and lithographic crayon on paper Each Sheet: 11 7/8 × 16 1/2 in. (30.2 × 41.9 cm) 2025‑15.1-.11 Untitled, Greek Art, 2018 Graphite on paper 39 3/8 × 55 1/8 in. (100 × 140 cm) 2025‑15.12 Untitled, 1860, 2018 Graphite on paper 39 3/8 × 55 1/8 in. (100 × 140 cm) 2025‑15.13

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Untitled, Gericault, 2018 Graphite on paper 39 3/8 × 55 1/8 in. (100 × 140 cm) 2025‑15.14 Sea, 2019 Animated film 2/3 (+1 AP) Duration: 58 seconds 2025‑15.15 Robert Beck American, born 1959 Untitled (Highlights for Children, October 1990, pg. 14), 1996 Graphite on paper 13 7/8 × 11 in. (35.3 × 27.9 cm) Bequest of Janie C. Lee 2024‑4.11 Untitled (The House Tree Person Technique: Revised Manual by John N. Buck), 2000 Carbon, charcoal, and graphite on paper 10 × 8 in. (25.4 × 20.3 cm) Bequest of Janie C. Lee 2024‑4.12 Forrest Bess American, 1911–1977 Mexican Boy, ca. 1938 Linocut print 4/6 Block: 3 1/2 × 3 1/2 in. (8.9 × 8.9 cm) Sheet: 4 3/4 × 4 1/4 in. (12.1 × 10.8 cm) Gift of Goodwood Museum and Gardens in memory of Thomas M. Hood 2024‑30.1

Cathedral in Taxco, ca. 1938 Linocut print Block: 7 × 5 in. (17.8 × 12.7 cm) Sheet: 8 × 6 in. (20.3 × 15.2 cm) Gift of Goodwood Museum and Gardens in memory of Thomas M. Hood 2024‑30.4 Night in Taxco, ca. 1938 Print Block: 7 × 5 in. (17.8 × 12.7 cm) Sheet: 8 × 6 in. (20.3 × 15.2 cm) Gift of Goodwood Museum and Gardens in memory of Thomas M. Hood 2024‑30.5 Untitled, n.d.

Linocut print Block: 7 1/8 × 5 in. (18 × 12.7 cm) Sheet: 8 × 6 in. (20.3 × 15.2 cm) Gift of Goodwood Museum and Gardens in memory of Thomas M. Hood 2024‑30.6 Taxco, n.d.

Linocut print Block: 5 × 7 in. (12.7 × 17.8 cm) Sheet: 6 1/4 × 8 1/4 in. (15.9 × 21 cm) Gift of Goodwood Museum and Gardens in memory of Thomas M. Hood 2024‑30.7 Prints of Mexico. Portfolio Cover, ca. 1938 Faux suede 12 × 9 3/8 in. (30.5 × 23.9 cm) (Folded) Gift of Goodwood Museum and Gardens in memory of Thomas M. Hood 2024‑30.8

Maria, ca. 1938 Linocut print 4/6 Block: 6 × 4 in. (15.2 × 10.2 cm) Sheet: 7 1/8 × 5 1/4 in. (18 × 13.3 cm) Gift of Goodwood Museum and Gardens in memory of Thomas M. Hood 2024‑30.2

Joseph Beuys German, 1921–1986 Women, 1954 Watercolor and graphite on paper 11 1/4 × 8 1/4 in. (28.6 × 21 cm) Bequest of Janie C. Lee 2024‑4.13

Laguna Acapulco, ca. 1938 Linocut print 4/6 Block: 4 × 3 in. (10.2 × 7.6 cm) Sheet: 5 1/4 × 4 in. (13.3 × 10.2 cm) Gift of Goodwood Museum and Gardens in memory of Thomas M. Hood 2024‑30.3

John Biggers American, 1924–2001 Untitled, 1988 Conte crayon on wove paper 22 × 15 in. (55.9 × 38.1 cm) Purchased with funds provided by the Wawro Gray Family Foundation 2024‑33

Mel Bochner American, 1940–2025 7 Properties of Between, 1971 Ink on paper 10 7/8 × 8 1/2 in. (27.7 × 21.6 cm) Gift of the artist in honor of Louisa Stude Sarofim 2024‑27 James Castle American, 1899–1977 Untitled, 20th century Collage with found paper, string, and soot 5 3/4 × 8 1/4 in. (14.6 × 21 cm) Gift of Monty Blanchard and Leslie Tcheyan in honor of Francois and Susan de Menil 2024‑34 Paul Cézanne French, 1839–1906 Bather Standing with Back Turned (Baigneur debout, le dos tourné) [recto]; Portrait of a Man (Portrait d’homme) [verso], ca. 1877–80 [recto]; not dated [verso] Graphite on paper 9 1/4 × 5 7/8 in. (23.5 × 15 cm) Bequest of Janie C. Lee in honor of Jasper Johns 2024‑4.14 Chuck Close American, 1940–2021 In collaboration with Dieu Donné Watermark Self‑Portrait, 2007 Light and shade watermark on handmade paper 16/35 11 3/4 × 9 1/4 in. (29.8 × 23.5 cm) 2025‑9 Tacita Dean English, born 1965 Houston Derecho, 2024 Lithographic postcard with black tea, wax, postage stamp, and ink 3 1/2 × 5 1/2 in. (8.9 × 14 cm) Gift of Michelle White 2025‑7

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The Sublunaries, 2024 From the series Locomotive Drawings Enamel and mirror lacquer on found tarnished steam train windows Each Window: 12 1/8 × 17 3/16 in. (30.8 × 43.7 cm) Purchased with funds provided by Allison Sarofim and Patrick Seabase, Nora and Bob Ackerley, Caroline Huber, Bill Stewart and Johanna Brassert, Nina and Michael Zilkha, Franci Neely, Mark Wawro and Melanie Gray, and Clare Casademont and Michael Metz 2025‑13 Jay DeFeo American, 1929–1989 Untitled (Plow series, 9H Pencil series), 1981 Graphite, crayon, charcoal, and acrylic on paper 11 × 14 in. (27.9 × 35.6 cm) Gift of The Jay DeFeo Foundation 2024‑23 Edgar Degas French, 1834–1917 Study for The Daughter of Jephthah (Etude pour La Fille de Jephté), ca. 1859 Graphite and ink on paper 9 1/2 × 12 in. (24.1 × 30.5 cm) Bequest of Janie C. Lee 2024‑4.17

2025 Annual Report

The Menil Collection

Willem de Kooning American, 1904–1997 Abstraction, 1945 Graphite and pastel on paper 13 1/2 × 18 1/2 in. (34.3 × 47 cm) Bequest of Janie C. Lee 2024‑4.15 Untitled, 1975 Pastel and oil on paper 18 1/2 × 23 3/4 in. (47 × 60.3 cm) Bequest of Janie C. Lee 2024‑4.16 James Drake American, born 1946 The Heart Has Many Rivers (My Life in Drawing, 1962–2023), 1962–2023 Graphite, charcoal, ink, and watercolor on paper, and inkjet prints, mounted to paper in a leather‑bound album 18 × 14 × 3 in. (45.7 × 35.6 × 7.6 cm) Gift of the artist and Moody Gallery in honor of Louisa Stude Sarofim 2024‑22

Master Drawings, drawings #1243, 1244 & 1245, 2013 Graphite, ink, and book covers on paper 19 × 72 in. (48.3 × 182.9 cm) Gift of Lannan Foundation 2024‑26.1 Accelerators, drawings #1262, 1263, 1264 & 1265, 2014 Graphite and ink on book pages 38 × 48 in. (96.5 × 121.9 cm) Gift of Lannan Foundation 2024‑26.2 Dan Flavin American, 1933–1996 untitled (to Janie Lee) one and two, 1971 Colored pencil on graph paper 16 5/8 × 21 5/8 in. (42.2 × 54.9 cm) Bequest of Janie C. Lee 2024‑4.18 Sails, 1986 Pastel on paper 11 × 14 in. (27.9 × 35.6 cm) Gift of Fredericka Hunter and Ian Glennie 2024‑21.1 Untitled, 1986 Pastel on paper 2 1/2 × 3 7/16 in. (6.4 × 8.8 cm) Gift of Fredericka Hunter and Ian Glennie 2024‑21.2

Suzan Frecon American, born 1941 from the series of composition with red earth and red earth (o) watchtower/boulder mountains, 2005/06 Oil on wood panel 9 15/16 × 7 15/16 in. (25.3 × 20.2 cm) Gift of the artist and David Zwirner 2024‑32.1 embodiment of red (trial) version 4, 2006 Oil on wood panel 10 × 8 in. (25.4 × 20.3 cm) Gift of the artist and David Zwirner 2024‑32.2 stone cathedral, 2018 Oil on fiberboard 9 15/16 × 7 15/16 in. (25.3 × 20.2 cm) Gift of the artist and David Zwirner 2024‑32.3 annunciata, 2019 Oil on wood panel 9 3/4 × 12 in. (24.8 × 30.5 cm) Gift of the artist and David Zwirner 2024‑32.4 lantern (for Fred) trial 2, 2020 Oil on wood panel 9 3/4 × 12 in. (24.8 × 30.5 cm) Gift of the artist and David Zwirner 2024‑32.5

Sam Francis American, 1923–1994 Gray Cloud Study, 1952 Ink on paper 24 1/2 × 16 3/4 in. (62.2 × 42.5 cm) (visible) Bequest of Janie C. Lee 2024‑4.19

Roy Fridge American, 1927–2007 Bone Boat Totem, 1980 Bone and mahogany 59 × 11 × 17 1/2 in. (149.9 × 27.9 × 44.5 cm) Gift of Elizabeth Weingarten in memory of Jack Weingarten 2024‑29

Helen Frankenthaler American, 1928–2011 Untitled, 1980 Acrylic on paper 20 1/4 × 30 in. (51.4 × 76.2 cm) Bequest of Janie C. Lee 2024‑4.20

Alberto Giacometti Swiss, 1901–1966 City Square, 1955 Lithographic crayon on paper 13 × 8 7/8 in. (33 × 22.6 cm) Bequest of Janie C. Lee 2024‑4.22

Untitled, 1958–60 Oil on paper 24 3/8 × 33 3/8 in. (62 × 84.8 cm) Bequest of Janie C. Lee 2024‑4.21

Sam Gilliam American, 1933–2022 Coffee Thyme II, 1982 Color lithograph, screenprint, relief, etching, and embossing on handmade paper 21/37 31 1/2 × 40 in. (80 × 101.6 cm) Gift of Barbara and Aaron Levine 2024‑17.1

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Coffee Thyme II, 1980 Color lithograph, screenprint, relief, etching, and embossing on handmade paper 38/65 31 1/2 × 40 in. (80 × 101.6 cm) Gift of Barbara and Aaron Levine 2024‑17.2 Robert Gober American, born 1954 Untitled, 1984 Graphite on paper 11 3/8 × 13 1/4 in. (29 × 33.7 cm) Bequest of Janie C. Lee 2024‑4.23 Nancy Grossman American, born 1940 Looped Crown, 1968 Ink on paper 10 7/8 × 12 7/8 in. (27.7 × 32.8 cm) Gift of Robert Gober 2024‑20 Philip Guston American, born in Canada, 1913–1980 Head, 1968 Ink on paper 18 × 22 1/4 in. (45.7 × 56.5 cm) Bequest of Janie C. Lee 2024‑4.24 Untitled, ca. 1954 Ink on paper 23 3/8 × 17 3/4 in. (59.4 × 45.1 cm) Bequest of Janie C. Lee 2024‑4.25 Ann Hamilton American, born 1956 In collaboration with Dieu Donné poche, 2014 Abaca paper, raw sheep wool, linen thread 9/15 24 × 18 in. (61 × 45.7 cm) Gift of Dieu Donné 2025‑2.1 In collaboration with Dieu Donné poche, 2014 Abaca paper, raw sheep wool, linen thread 9/15 24 × 18 in. (61 × 45.7 cm) Gift of Dieu Donné 2025‑2.2

Eva Hesse American, 1936–1970 No title, 1966 Ink and graphite on paper 9 5/8 × 7 3/4 in. (24.4 × 19.7 cm) Bequest of Janie C. Lee 2024‑4.26 Sheila Hicks American, active in France, born 1934 Indigo Fiber 1, 2014 Indigo‑dyed fibers on paper 16 1/8 × 22 3/4 in. (40.9 × 57.9 cm) Purchased with funds provided by Clare Casademont and Michael Metz 2025‑5 Stitched Drawing, 2000 Handmade paper stitched with thread 14 3/4 × 19 3/4 in. (37.5 × 50.2 cm) Gift of Melvin Bedrick 2025‑6 Roni Horn American, born 1955 aka, 2008–09 Inkjet prints on rag paper Each Frame: 17 1/16 × 15 1/16 × 1 3/16 in. (43.3 × 38.3 × 3 cm) Gift of John A. MacMahon and Graham Steele 2024‑31 Shirley Jaffe American, 1923–2016 Untitled #1, ca. 1990 Mixed media on paper 25 1/2 × 19 1/2 in. (64.8 × 49.5 cm) Gift of Kerry Inman and Denby Auble 2024‑19 Jasper Johns American, born 1930 Flag on Orange Field, 1957 Fluorescent paint, watercolor, pastel, and graphite on paper 10 1/2 × 7 3/4 in. (26.7 × 19.7 cm) Bequest of Janie C. Lee in memory of her grandfather, Alfred C. Glassell, Sr. 2024‑4.27 Souvenir for Janie, 1977 Ink on plastic 14 1/2 × 10 7/8 in. (36.8 × 27.6 cm) Bequest of Janie C. Lee 2024‑4.28

Target with Four Faces, 1977 Ink and graphite on plastic 11 × 8 3/4 in. (27.9 × 22.2 cm) Bequest of Janie C. Lee 2024‑4.29 Untitled, 1984 Ink and graphite on plastic 26 1/4 × 34 1/2 in. (66.7 × 87.6 cm) Bequest of Janie C. Lee 2024‑4.30 Study for Fall, 1986 Graphite on paper 20 1/8 × 28 3/4 in. (51.1 × 73 cm) Bequest of Janie C. Lee 2024‑4.31 Untitled, 2012 Graphite on paper 19 3/4 × 14 3/8 in. (50.2 × 36.6 cm) Bequest of Janie C. Lee 2024‑4.32 Ellsworth Kelly American, 1923–2015 Study for Wall, 1964 Ink and graphite on printed paper 13 1/2 × 9 1/8 in. (34.3 × 23.1 cm) Bequest of Janie C. Lee 2024‑4.33 Begonia, 1980 Graphite on paper 24 × 36 in. (61 × 91.4 cm) Bequest of Janie C. Lee in honor of Leslie Elkins Sasser 2024‑4.34 Anselm Kiefer German, born 1945 Untitled (The Painter’s Studio [Des Malers Atelier]), ca. 1982 Graphite and watercolor on paper 19 1/2 × 25 in. (49.5 × 63.5 cm) Bequest of Janie C. Lee 2024‑4.35 Franz Kline American, 1910–1962 Double‑Sided Composition, 1950 Ink on paper 29 7/8 × 23 in. (75.9 × 58.4 cm) Bequest of Janie C. Lee 2024‑4.36

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Lars Lerup American, born 1940 Drawing for “room”. Watt, 1996 Mixed media on paper 11 × 8 1/2 in. (27.9 × 21.6 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.1 Drawing for “room”. Room, 2014 Mixed media on paper 14 × 11 in. (35.6 × 27.9 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.2 Drawing for “room”. Watt’s lift (OIL‑chair), 1996 Mixed media on paper 14 × 11 in. (35.6 × 27.9 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.3 Drawing for “room”. Murphy’s Bed, 2014 Mixed media on paper 14 × 11 in. (35.6 × 27.9 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.4 Drawing for “room”. Lean‑to, 1998 Mixed media on paper 14 1/16 × 11 in. (35.7 × 27.9 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.5

2025 Annual Report

The Menil Collection

Drawing for “room”. Lean‑to closet, 1996 Mixed media on paper 11 × 8 1/2 in. (27.9 × 21.6 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.6 Drawing for “room”. T‑chair, 2014 Mixed media on paper 14 × 11 in. (35.6 × 27.9 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.7 Drawing for “room”. Racer, 1996 Mixed media on paper 14 1/16 × 11 in. (35.7 × 27.9 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.8

Forest Scene with Temple (Study), 1985 Colored pencil and graphite on paper 9 1/4 × 11 11/16 in. (23.5 × 29.7 cm) Purchased with funds provided by an anonymous donor 2025‑3.3

Drawing for “room”. Tall boy, 1997 Mixed media on paper 14 1/16 × 11 in. (35.7 × 27.9 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.9

Drawing for “room”. Wobbly Wall, 2014 Mixed media on paper 14 × 11 in. (35.6 × 27.9 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.17

Drawing for “room”. Blu, 2017 Mixed media on paper 14 × 11 in. (35.6 × 27.9 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.10

Drawing for “room”. Trabajo di Silleria, 2017 Mixed media on paper 12 × 9 in. (30.5 × 22.9 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.18

Landscape with Figures and Rainbow and Brushstrokes (Studies), 1980 Colored pencil and graphite on paper 12 5/8 × 7 5/8 in. (32.1 × 19.4 cm) Purchased with funds provided by an anonymous donor 2025‑3.4

Drawing for “room”. Youme, which‑way‑chair, 2017 Mixed media on paper 14 × 11 in. (35.6 × 27.9 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.19

Morris Louis American, 1912–1962 Untitled, 1954 Acrylic on canvas 95 5/8 × 77 5/8 in. (242.9 × 197.2 cm) Gift of Lannan Foundation 2024‑26.3

Drawing for “room”. Freud‑oman, 2017 Mixed media on paper 14 × 11 in. (35.6 × 27.9 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.20

Henri Matisse French, 1869–1954 Fruit Leaves, 1942 Charcoal on paper 15 7/8 × 10 1/4 in. (40.4 × 26 cm) Bequest of Janie C. Lee in honor of Rebecca Rabinow 2024‑4.37

Drawing for “room”. Maus, 2014 Mixed media on paper 14 × 11 in. (35.6 × 27.9 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.11 Drawing for “room”. Flatbed, 1998 Mixed media on paper 14 1/16 × 11 in. (35.7 × 27.9 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.12 Drawing for “room”. Tallboy, 1998 Mixed media on paper 14 × 11 in. (35.6 × 27.9 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.13 Drawing for “room”. O’Meldon’s Cube n’ Root, 2014 Mixed media on paper 14 × 11 in. (35.6 × 27.9 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.14 Drawing for “room”. New lite old lamp, 2017 Mixed media on paper 14 × 11 in. (35.6 × 27.9 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.15 Drawing for “room”. Shtick, 2017 Mixed media on paper 14 × 11 in. (35.6 × 27.9 cm) Purchased with funds provided by Cindy and Frank Liu 2024‑18.16

Si Lewen American, 1918–2016 The Great Feast, 1964 Acrylic and collage on canvas 90 × 150 3/4 in. (228.6 × 382.9 cm) Purchased with funds provided by an anonymous donor, Suzanne Deal Booth, and Nina and Michael Zilkha 2024‑25 Roy Lichtenstein American, 1923–1997 Figures (Study), 1977 Colored pencil and graphite on paper 6 × 7 13/16 in. (15.2 × 19.8 cm) Purchased with funds provided by an anonymous donor 2025‑3.1 Figure with Trylon and Perisphere and Surrealism (Studies), 1977 Colored pencil and graphite on paper 8 3/4 × 7 13/16 in. (22.2 × 19.8 cm) Purchased with funds provided by an anonymous donor 2025‑3.2

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Leila McConnell American, born 1927 Collage #40 (pink and blue landscape), 1980 Paper collage 10 3/4 × 8 in. (27.3 × 20.3 cm) 2025‑8.1 Collage #67 (sandy landscape with blue triangle), 1982 Paper collage 6 × 4 1/4 in. (15.2 × 10.8 cm) 2025‑8.2 Piet Mondrian Dutch, 1872–1944 Chrysanthemum, 1907 Graphite on paper 11 5/8 × 8 1/8 in. (29.5 × 20.6 cm) (visible) Bequest of Janie C. Lee 2024‑4.38 Dune Landscape (Dünenlandschaft), ca.

1908 Charcoal on paper 10 3/4 × 17 3/8 in. (27.3 × 44.2 cm) Bequest of Janie C. Lee 2024‑4.39

Robert Motherwell American, 1915–1991 Black on White No. 7, 1968 Acrylic and graphite on paper 6 × 8 in. (15.2 × 20.3 cm) Bequest of Janie C. Lee 2024‑4.40 Open Study No. 10, 1968 Charcoal on paper 22 1/8 × 30 1/2 in. (56.1 × 77.5 cm) Bequest of Janie C. Lee 2024‑4.41 Barnett Newman American, 1905–1970 Christmas greetings to Betty Parsons, 1950 Ink on paper 6 5/8 × 8 in. (16.8 × 20.3 cm) Bequest of Janie C. Lee in honor of Louisa Stude Sarofim 2024‑4.42 Georgia O’Keeffe American, 1887–1986 From a River Trip, ca. 1965 Charcoal on paper 24 1/2 × 18 1/2 in. (62.2 × 47 cm) Bequest of Janie C. Lee 2024‑4.43 Claes Oldenburg American, 1929–2022 Pat in Black Underwear, Seated, 1959 Crayon on paper 13 1/8 × 10 1/8 in. (33.3 × 25.7 cm) Bequest of Janie C. Lee 2024‑4.44 Proposal for a Sculpture in the Form of a Giant Skate, 1968 Crayon and watercolor on paper 10 5/8 × 13 3/8 in. (26.9 × 34 cm) Bequest of Janie C. Lee 2024‑4.45 Jackson Pollock American, 1912–1956 Untitled , 1951 Ink on paper 25 × 39 1/8 in. (63.5 × 99.3 cm) Bequest of Janie C. Lee in honor of David B. Warren 2024‑4.46

Christina Quarles American, born 1985 Play Yer Part, 2023 Acrylic on canvas 55 1/4 × 88 × 2 in. (140.3 × 223.5 × 5.1 cm) Purchased in part with funds provided by Suzanne Deal Booth 2024‑15 Robert Rauschenberg American, 1925–2008 First Chance (Slide), 1979 Solvent transfer and fabric on paper 60 × 40 in. (152.4 × 101.6 cm) Bequest of Janie C. Lee 2024‑4.47 Currency, 1958 Solvent transfer, graphite, gouache, and watercolor on paper 22 3/4 × 28 3/4 in. (57.8 × 73 cm) Bequest of Janie C. Lee 2024‑4.48 Susan Rothenberg American, 1945–2020 Untitled, 1981 Charcoal on paper 30 × 22 in. (76.2 × 55.9 cm) Bequest of Janie C. Lee 2024‑4.49 Gabriel de Saint‑Aubin French, 1724–1780 Outside the Colisée, Paris, 1772 Ink, watercolor, and chalk on paper 6 × 8 1/2 in. (15.2 × 21.6 cm) Gift of John Davidson 2025‑12 Richard Serra American, 1938–2024 Untitled, 1971 Charcoal on paper 26 1/4 × 40 in. (66.7 × 101.6 cm) Bequest of Janie C. Lee 2024‑4.50 T.W.U. #10, 1980 Paintstick on paper 49 1/4 × 38 in. (125.1 × 96.5 cm) Bequest of Janie C. Lee 2024‑4.51 Buster Keaton II, 1993 Paintstick on paper 40 × 39 1/2 in. (101.6 × 100.3 cm) Bequest of Janie C. Lee 2024‑4.52

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Joel Shapiro American, 1941–2025 Untitled, 1969 Ink on paper 9 1/2 × 7 1/2 in. (24.1 × 19.1 cm) Bequest of Janie C. Lee 2024‑4.53 Untitled, 1981 Charcoal and enamel on paper 19 3/4 × 24 3/4 in. (50.2 × 62.9 cm) Bequest of Janie C. Lee 2024‑4.54

Jasper Johns, Flag on Orange Field, 1957.

Fluorescent paint, watercolor, pastel, and graphite on paper, 10 1/2 × 7 3/4 in. (26.7 × 19.7 cm). The Menil Collection, Houston, Bequest of Janie C. Lee in memory of her grandfather, Alfred C. Glassell, Sr. © Jasper Johns / VAGA at Artists Rights Society (ARS). Photo: Jamie M. Stukenberg

Mimi Smith American, born 1942 July 12, News at Noon, 1978 From the series Television Drawings Graphite and colored pencil on black paper 30 1/2 × 40 1/2 in. (77.5 × 102.9 cm) 2025‑14.1 Violence in America, Good Evening, 1977 From the series Television Drawings Ink and graphite on paper 22 1/2 × 30 in. (57.2 × 76.2 cm) 2025‑14.2 Frank Stella American, 1936–2024 Untitled , ca. 1964 Graphite and chalk on graph paper 8 7/16 × 11 7/8 in. (21.5 × 30.2 cm) Bequest of Janie C. Lee 2024‑4.55 Dorothea Tanning American, 1910–2012 Untitled (Unpublished), 1970 Color lithograph 20 1/2 × 26 3/4 in. (52.1 × 67.9 cm) Gift of Barbara and Jim Metcalf and the Gallery of Surrealism 2024‑28.1

2025 Annual Report

The Menil Collection

Untitled (Unpublished), 1970 Color lithograph 21 1/8 × 26 1/2 in. (53.7 × 67.3 cm) Gift of Barbara and Jim Metcalf and the Gallery of Surrealism 2024‑28.2

Morris Louis, Untitled, 1954. Acrylic on canvas, 95 5/8 × 77 5/8 in. (242.9 × 197.2 cm). The Menil Collection, Houston, Gift of Lannan Foundation. © Maryland Institute College of Art (MICA), Rights administered by Artists Rights Society (ARS), New York. Photo: James Craven

Cy Twombly, Study for Treatise on the Veil, 1970.

Collage of paper and transparent tape, with graphite, wax crayon, and colored pencil on paper, 27 ¾ × 39 3/8 in. (70.5 × 100 cm). The Menil Collection, Houston, Gift of the Cy Twombly Foundation. © Cy Twombly Foundation.

Cy Twombly American, 1928–2011 Volubilus, 1953 House paint, oil, crayon, and charcoal on canvas 55 × 76 in. (139.7 × 193 cm) Gift of the Cy Twombly Foundation in celebration of the 30th anniversary of the Cy Twombly Gallery 2024‑11.1 Untitled, 1954 House paint, crayon, and graphite on canvas 68 3/4 × 86 in. (174.6 × 218.4 cm) Gift of the Cy Twombly Foundation in celebration of the 30th anniversary of the Cy Twombly Gallery 2024‑11.2

Untitled, 1954 Graphite on paper with staples 11 1/16 × 8 5/8 in. (28.1 × 21.8 cm) Gift of the Cy Twombly Foundation 2025‑1.1

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Untitled, 1957 Graphite on paper 12 × 14 1/2 in. (30.5 × 36.8 cm) Gift of the Cy Twombly Foundation 2025‑1.11

Untitled, 1954 Graphite on paper with staples 11 × 8 7/16 in. (27.9 × 21.5 cm) Gift of the Cy Twombly Foundation 2025‑1.2

Untitled, 1959 Graphite on paper 24 1/8 × 36 1/16 in. (61.2 × 91.6 cm) Gift of the Cy Twombly Foundation 2025‑1.12

Untitled, 1954 Graphite on paper with staples 11 × 8 5/8 in. (27.9 × 21.8 cm) Gift of the Cy Twombly Foundation 2025‑1.3

Untitled, 1959 Graphite and oil on paper 24 1/8 × 36 1/16 in. (61.2 × 91.6 cm) Gift of the Cy Twombly Foundation 2025‑1.13

Untitled, 1954 Graphite on paper 19 × 25 1/8 in. (48.3 × 63.8 cm) Gift of the Cy Twombly Foundation 2025‑1.4

Sperlonga drawing, 1959 House paint and graphite on paper 27 9/16 × 39 3/16 in. (70 × 99.6 cm) Gift of the Cy Twombly Foundation 2025‑1.14

Untitled, 1954 Graphite on paper 19 × 25 in. (48.3 × 63.5 cm) Gift of the Cy Twombly Foundation 2025‑1.5

Sperlonga collage, 1959 Collage of shredded papers, with graphite and ballpoint pen on paper 14 7/16 × 12 in. (36.7 × 30.5 cm) Gift of the Cy Twombly Foundation 2025‑1.15

Untitled, 1954 Graphite on paper 25 × 19 in. (63.5 × 48.3 cm) Gift of the Cy Twombly Foundation 2025‑1.6 Untitled, 1956 Graphite on paper 21 7/8 × 30 in. (55.6 × 76.2 cm) Gift of the Cy Twombly Foundation 2025‑1.7 Untitled, 1955–56 Graphite on paper 22 × 30 1/8 in. (55.9 × 76.5 cm) Gift of the Cy Twombly Foundation 2025‑1.8 Untitled, 1957 Graphite on paper 12 × 14 1/2 in. (30.5 × 36.8 cm) Gift of the Cy Twombly Foundation 2025‑1.9 Untitled, 1957 Graphite on paper 12 × 14 1/2 in. (30.5 × 36.8 cm) Gift of the Cy Twombly Foundation 2025‑1.10

See Naples + Die, 1960 Graphite, wax crayon, colored pencil, and ballpoint pen on paper 19 1/2 × 27 1/2 in. (49.5 × 69.9 cm) Gift of the Cy Twombly Foundation 2025‑1.16 Untitled (Rape of the Sabines), 1960 Wax crayon, graphite, and ballpoint pen on paper 19 1/2 × 27 1/2 in. (49.5 × 69.9 cm) Gift of the Cy Twombly Foundation 2025‑1.17 Untitled (Rape of the Sabines), 1960 Graphite, colored pencil, and wax crayon on paper 19 1/2 × 27 1/2 in. (49.5 × 69.9 cm) Gift of the Cy Twombly Foundation 2025‑1.18 Untitled (Rape of the Sabines), 1960 Graphite, wax crayon, colored pencil, and ballpoint pen on paper 19 11/16 × 27 9/16 in. (50 × 70 cm) Gift of the Cy Twombly Foundation 2025‑1.19

Untitled, 1961 Graphite, wax crayon, colored pencil, and ballpoint pen on paper 13 1/8 × 14 in. (33.3 × 35.6 cm) Gift of the Cy Twombly Foundation 2025‑1.20 Venus and Mars, 1962 Graphite, colored pencil, ballpoint pen, and watercolor on paper 19 5/8 × 27 5/8 in. (49.8 × 70.1 cm) Gift of the Cy Twombly Foundation 2025‑1.21 Birth of Venus, 1962 Wax crayon, graphite, and colored pencil on paper 13 3/16 × 14 in. (33.5 × 35.6 cm) Gift of the Cy Twombly Foundation 2025‑1.22 Birth of Venus, 1962 Wax crayon, graphite, and colored pencil on paper 13 1/8 × 14 1/8 in. (33.3 × 35.8 cm) Gift of the Cy Twombly Foundation 2025‑1.23 Untitled (Sapphic), 1963 Graphite and colored pencil on paper 19 11/16 × 19 11/16 in. (50 × 50 cm) Gift of the Cy Twombly Foundation 2025‑1.24 Untitled, 1963 Graphite, colored pencil, and ballpoint pen on paper 13 3/16 × 14 in. (33.5 × 35.5 cm) Gift of the Cy Twombly Foundation 2025‑1.25 Untitled, 1963 Graphite, wax crayon, colored pencil, and ballpoint pen on paper 13 3/16 × 14 in. (33.5 × 35.6 cm) Gift of the Cy Twombly Foundation 2025‑1.26 Untitled, 1961–63 Graphite, colored pencil, and ballpoint pen on paper 13 1/4 × 14 1/8 in. (33.7 × 35.8 cm) Gift of the Cy Twombly Foundation 2025‑1.27 Untitled, 1964 Graphite, colored pencil, and ballpoint pen on paper 27 9/16 × 39 3/8 in. (70 × 100.1 cm) Gift of the Cy Twombly Foundation 2025‑1.28

Untitled, 1965 Graphite and wax crayon on paper 26 1/2 × 34 in. (67.3 × 86.4 cm) Gift of the Cy Twombly Foundation 2025‑1.29 Untitled [recto]; Untitled [verso], 1965 Graphite and wax crayon on paper 17 × 13 5/16 in. (43.2 × 33.8 cm) Gift of the Cy Twombly Foundation 2025‑1.30 Untitled, 1965 Graphite, colored pencil, and ballpoint pen on paper 27 5/8 × 19 13/16 in. (70.1 × 50.3 cm) Gift of the Cy Twombly Foundation 2025‑1.31 Untitled, 1965 Graphite, colored pencil, and ballpoint pen on paper 34 × 26 1/2 in. (86.4 × 67.3 cm) Gift of the Cy Twombly Foundation 2025‑1.32 Untitled, 1965 Graphite and wax crayon on paper 26 1/2 × 34 in. (67.3 × 86.4 cm) Gift of the Cy Twombly Foundation 2025‑1.33 Untitled, 1965 Graphite and wax crayon on paper 26 9/16 × 33 15/16 in. (67.5 × 86.2 cm) Gift of the Cy Twombly Foundation 2025‑1.34 Untitled, 1965 Graphite, wax crayon, and colored pencil on paper 33 15/16 × 26 9/16 in. (86.2 × 67.5 cm) Gift of the Cy Twombly Foundation 2025‑1.35 Untitled, 1965 Graphite and wax crayon on paper 26 1/2 × 34 in. (67.3 × 86.4 cm) Gift of the Cy Twombly Foundation 2025‑1.36 Untitled, 1965 Graphite and wax crayon on paper 34 × 26 1/2 in. (86.4 × 67.3 cm) Gift of the Cy Twombly Foundation 2025‑1.37 Untitled, 1965 Graphite and wax crayon on paper 33 15/16 × 26 9/16 in. (86.2 × 67.5 cm) Gift of the Cy Twombly Foundation 2025‑1.38

30

Untitled, 1965 Graphite, wax crayon, and ballpoint pen on paper 34 × 26 1/2 in. (86.4 × 67.3 cm) Gift of the Cy Twombly Foundation 2025‑1.39

Untitled (Greetings from Gorgo), 1966 Graphite, wax crayon, and ballpoint pen on paper 33 15/16 × 26 9/16 in. (86.2 × 67.5 cm) Gift of the Cy Twombly Foundation 2025‑1.48

Untitled, 1965 Graphite, wax crayon, and ballpoint pen on paper 17 1/16 × 13 1/4 in. (43.4 × 33.6 cm) Gift of the Cy Twombly Foundation 2025‑1.40

Untitled (Greetings from Gorgo), 1966 Graphite and wax crayon on paper 17 × 13 3/8 in. (43.2 × 34 cm) Gift of the Cy Twombly Foundation 2025‑1.49

Untitled, 1965 Graphite, wax crayon, and ballpoint pen on paper 33 15/16 × 26 9/16 in. (86.2 × 67.5 cm) Gift of the Cy Twombly Foundation 2025‑1.41 Untitled, 1966 Graphite and ballpoint pen on paper 17 1/16 × 13 1/4 in. (43.3 × 33.7 cm) Gift of the Cy Twombly Foundation 2025‑1.42 Untitled, 1966 Graphite on paper 17 1/16 × 13 3/8 in. (43.3 × 34 cm) Gift of the Cy Twombly Foundation 2025‑1.43

2025 Annual Report

The Menil Collection

Untitled, 1966 Collage of cardboard and packaging tape, with graphite, wax crayon, and ballpoint pen on cardboard 27 5/8 × 19 1/2 in. (70.1 × 49.5 cm) Gift of the Cy Twombly Foundation 2025‑1.44 Untitled, 1966 Collage of cardboard and packaging tape, with wax crayon and graphite on cardboard 27 5/8 × 19 1/2 in. (70.1 × 49.5 cm) Gift of the Cy Twombly Foundation 2025‑1.45 Untitled (Greetings from Gorgo), 1966 Graphite and wax crayon on paper 16 3/8 × 13 1/4 in. (41.7 × 33.7 cm) Gift of the Cy Twombly Foundation 2025‑1.46 Untitled (Greetings from Gorgo), 1966 Graphite, wax crayon, and ballpoint pen on paper 16 15/16 × 13 3/16 in. (43.1 × 33.5 cm) Gift of the Cy Twombly Foundation 2025‑1.47

Untitled (Greetings from Gorgo), 1966 Graphite and wax crayon on paper 33 15/16 × 26 9/16 in. (86.2 × 67.5 cm) Gift of the Cy Twombly Foundation 2025‑1.50 Untitled (Greetings from Gorgo), 1966 Graphite, wax crayon, and ballpoint pen on paper 34 × 26 1/2 in. (86.4 × 67.3 cm) Gift of the Cy Twombly Foundation 2025‑1.51 Untitled, 1969 Oil, wax crayon, and graphite on paper 30 × 40 in. (76.2 × 101.6 cm) Gift of the Cy Twombly Foundation 2025‑1.52 Untitled, 1969 Graphite, wax crayon, colored pencil, and felt-tip pen on paper 28 1/2 × 40 in. (72.4 × 101.6 cm) Gift of the Cy Twombly Foundation 2025‑1.53 Untitled, 1969 Graphite, wax crayon, colored pencil, and felt-tip pen on paper 28 5/8 × 40 in. (72.6 × 101.6 cm) Gift of the Cy Twombly Foundation 2025‑1.54 Untitled, 1970 Oil and wax crayon on paper 27 9/16 × 34 3/8 in. (70 × 87.3 cm) Gift of the Cy Twombly Foundation 2025‑1.55 Untitled, 1970 Oil and wax crayon on paper 27 9/16 × 34 1/2 in. (70 × 87.6 cm) Gift of the Cy Twombly Foundation 2025‑1.56

Study for Treatise on the Veil, 1970 Collage of paper and transparent tape, with graphite, wax crayon, and colored pencil on paper 32 × 39 in. (81.3 × 99.1 cm) Gift of the Cy Twombly Foundation 2025‑1.57 Untitled, 1970 Collage of postcards, tickets, and transparent tape, with wax crayon, graphite, and ink on paper 29 1/2 × 27 5/8 in. (75 × 70.1 cm) Gift of the Cy Twombly Foundation 2025‑1.58 Untitled, 1970 Oil , graphite, and wax crayon on paper 23 7/16 × 17 5/16 in. (59.5 × 44 cm) Gift of the Cy Twombly Foundation 2025‑1.59 Untitled, 1970–71 Collage of papers, postcard, sticker, and transparent tape, with watercolor, wax crayon, graphite, and ink on paper 29 3/4 × 22 1/8 in. (75.6 × 56.1 cm) Gift of the Cy Twombly Foundation 2025‑1.60 Untitled, 1971 Oil graphite, and wax crayon on paper 15 11/16 × 13 3/4 in. (39.8 × 35 cm) Gift of the Cy Twombly Foundation 2025‑1.61 Untitled, 1971 Oil, conté crayon, graphite, and wax crayon on paper 15 3/4 × 14 in. (40 × 35.5 cm) Gift of the Cy Twombly Foundation 2025‑1.62 Untitled, 1961–72 Graphite and wax crayon on paper 28 3/4 × 40 3/16 in. (73 × 102 cm) Gift of the Cy Twombly Foundation 2025‑1.63 Untitled, 1961–72 Graphite and wax crayon on paper 28 3/4 × 40 3/16 in. (73 × 102 cm) Gift of the Cy Twombly Foundation 2025‑1.64 Virgil, 1973 House paint, wax crayon, and transparent tape on paper 27 1/2 × 39 3/16 in. (69.8 × 99.5 cm) Gift of the Cy Twombly Foundation 2025‑1.65

31

Virgil, 1973 House paint and graphite on paper 27 9/16 × 39 3/8 in. (70 × 100 cm) Gift of the Cy Twombly Foundation 2025‑1.66 Turn and Coda, 1973 Oil, wax crayon, and graphite on paper 27 9/16 × 39 5/16 in. (70 × 99.8 cm) Gift of the Cy Twombly Foundation 2025‑1.67 Turn and Coda, 1973 Oil, wax crayon, and graphite on paper 27 9/16 × 39 3/8 in. (70 × 100.1 cm) Gift of the Cy Twombly Foundation 2025‑1.68 Turn and Coda, 1973 Oil, wax crayon, and graphite on paper 27 9/16 × 39 3/8 in. (70 × 100 cm) Gift of the Cy Twombly Foundation 2025‑1.69 Gladings (Love’s Infinite Causes), 1973 Collage of lithograph, paper, transparent tape, and staples, with oil, wax crayon, ink, and graphite on paper 40 7/16 × 27 9/16 in. (102.7 × 70 cm) Gift of the Cy Twombly Foundation 2025‑1.70 Untitled, 1974 Collage of papers and transparent tape, with wax crayon and graphite on paper 29 1/2 × 41 3/4 in. (75 × 106 cm) Gift of the Cy Twombly Foundation 2025‑1.71 Untitled, 1974 Collage of papers, masking tape, and transparent tape, with wax crayon, graphite, and ink on paper 39 3/8 × 27 5/8 in. (100 × 70.2 cm) Gift of the Cy Twombly Foundation 2025‑1.72 Sesostris II, 1974 Oil, wax crayon, and graphite on paper 27 1/2 × 39 1/4 in. (69.9 × 99.7 cm) Gift of the Cy Twombly Foundation 2025‑1.73 Sesostris II, 1974 House paint, wax crayon, and graphite on paper 27 9/16 × 39 1/4 in. (70 × 99.7 cm) Gift of the Cy Twombly Foundation 2025‑1.74

Narcissus, 1975 Collage of paper, with oil, charcoal, and wax crayon on paper 55 1/8 × 39 1/4 in. (140 × 99.7 cm) Gift of the Cy Twombly Foundation 2025‑1.75

Nike, 1981 Wax crayon, colored pencil, and graphite on paper 41 × 27 1/2 in. (104.1 × 69.9 cm) Gift of the Cy Twombly Foundation 2025‑1.83

Portrait of Pico della Mirandola, 1975 Oil, wax crayon, and graphite on paper 26 1/4 × 20 in. (66.6 × 50.8 cm) Gift of the Cy Twombly Foundation 2025‑1.76

Untitled, 1982 Oil, wax crayon, and graphite on paper 39 3/8 × 27 11/16 in. (100 × 70.3 cm) Gift of the Cy Twombly Foundation 2025‑1.84

Phaedrus, 1977 Oil and graphite on print proof 26 3/8 × 20 3/16 in. (67 × 51.2 cm) Gift of the Cy Twombly Foundation 2025‑1.77

Untitled, 1983 Acrylic, wax crayon, and graphite on paper 30 3/16 × 22 3/8 in. (76.7 × 56.9 cm) Gift of the Cy Twombly Foundation 2025‑1.85

Lysis, 1977 Oil and graphite on print proof 26 3/8 × 20 in. (67.1 × 50.8 cm) Gift of the Cy Twombly Foundation 2025‑1.78

Scent of Madness, 1986 Watercolor on paper 19 5/8 × 14 1/4 in. (49.8 × 36.2 cm) Gift of the Cy Twombly Foundation 2025‑1.86

Todos los Santos, 1980 Acrylic on handmade paper Each sheet: 10 5/8 × 11 13/16 in. (26.9 × 30 cm) Gift of the Cy Twombly Foundation 2025‑1.79

Scent of Madness, 1986 Watercolor on paper 19 1/2 × 14 1/8 in. (49.5 × 35.8 cm) Gift of the Cy Twombly Foundation 2025‑1.87

Untitled (3 Nudes on the Beach), 1980 Acrylic and graphite on handmade paper 10 3/8 × 11 5/8 in. (26.4 × 29.5 cm) 10 1/2 × 11 1/2 in. (26.7 × 29.2 cm) 10 × 11 1/4 in. (25.4 × 28.6 cm) 10 1/2 × 11 1/2 in. (26.7 × 29.2 cm) 10 5/8 × 11 5/8 in. (26.9 × 29.5 cm) 10 1/2 × 11 1/2 in. (26.7 × 29.2 cm) Gift of the Cy Twombly Foundation 2025‑1.80

Scent of Madness, 1986 Watercolor on paper 19 5/8 × 14 3/16 in. (49.8 × 36.1 cm) Gift of the Cy Twombly Foundation 2025‑1.88

Narcissus, 1980 Graphite on paper; Oil, wax crayon, and charcoal on paper; Collage of paper and staples, with acrylic, charcoal, and graphite on paper; Collage of paper and staples, with oil and graphite on paper 25 1/2 × 19 5/8 in. (64.8 × 49.8 cm) 51 × 63 3/16 in. (129.5 × 160.5 cm) 11 1/4 × 10 1/8 in. (28.6 × 25.7 cm) 13 × 14 in. (33 × 35.6 cm) Gift of the Cy Twombly Foundation 2025‑1.81 Animula Vagula, 1980 Colored pencil on paper 27 15/16 × 39 3/8 in. (71 × 100 cm) Gift of the Cy Twombly Foundation 2025‑1.82

Scent of Madness, 1986 Watercolor on paper 19 11/16 × 14 3/16 in. (50 × 36.1 cm) Gift of the Cy Twombly Foundation 2025‑1.89 Scent of Madness, 1986 Watercolor on paper 19 5/8 × 14 1/4 in. (49.8 × 36.2 cm) Gift of the Cy Twombly Foundation 2025‑1.90 Scent of Madness, 1986 Watercolor on paper 19 11/16 × 14 1/4 in. (50 × 36.2 cm) Gift of the Cy Twombly Foundation 2025‑1.91 Scent of Madness, 1986 Watercolor on paper 19 5/8 × 14 1/4 in. (49.8 × 36.2 cm) Gift of the Cy Twombly Foundation 2025‑1.92

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Scent of Madness, 1986 Watercolor on paper 19 11/16 × 14 1/4 in. (50 × 36.2 cm) Gift of the Cy Twombly Foundation 2025‑1.93 Scent of Madness, 1986 Watercolor on paper 19 5/8 × 14 1/4 in. (49.8 × 36.2 cm) Gift of the Cy Twombly Foundation 2025‑1.94 Scent of Madness, 1986 Watercolor on paper 19 11/16 × 14 1/4 in. (50 × 36.2 cm) Gift of the Cy Twombly Foundation 2025‑1.95 Untitled, 1986 Acrylic and oil on handmade Japanese paper 21 1/2 × 28 1/4 in. (54.6 × 71.8 cm) Gift of the Cy Twombly Foundation 2025‑1.96 Untitled, 1986 Acrylic and oil on handmade Japanese paper 21 × 28 in. (53.3 × 71.1 cm) Gift of the Cy Twombly Foundation 2025‑1.97

2025 Annual Report

The Menil Collection

Untitled, 1986 Acrylic and oil on handmade Japanese paper 21 × 28 in. (53.3 × 71.1 cm) Gift of the Cy Twombly Foundation 2025‑1.98

Toilet of Venere, 1988 Collage of paper and staples, with acrylic, wax crayon, and graphite on paper 56 5/16 × 50 in. (143 × 127 cm) Gift of the Cy Twombly Foundation 2025‑1.102 Untitled, 1990 Acrylic, wax crayon, and graphite on handmade paper 30 11/16 × 20 7/8 in. (78 × 53 cm) Gift of the Cy Twombly Foundation 2025‑1.103 Untitled, 1990 Acrylic and graphite on handmade paper 29 3/4 × 21 1/8 in. (75.5 × 53.7 cm) Gift of the Cy Twombly Foundation 2025‑1.104 Untitled, 1990 Acrylic, wax crayon, and graphite on handmade paper 30 1/8 × 22 7/16 in. (76.5 × 57 cm) Gift of the Cy Twombly Foundation 2025‑1.105 Untitled (Nicola’s Iris), 1990 Acrylic, wax crayon, and graphite on handmade paper 29 3/4 × 22 1/16 in. (75.5 × 56 cm) Gift of the Cy Twombly Foundation 2025‑1.106 Untitled (In the Garden), 1990 Acrylic on handmade paper 30 1/8 × 21 7/8 in. (76.5 × 55.5 cm) Gift of the Cy Twombly Foundation 2025‑1.107

Untitled, 1986 Acrylic and oil on handmade Japanese paper 21 7/16 × 28 11/16 in. (54.5 × 72.8 cm) Gift of the Cy Twombly Foundation 2025‑1.99

Untitled, 1991 Acrylic on handmade paper 30 1/8 × 22 1/16 in. (76.5 × 56 cm) Gift of the Cy Twombly Foundation 2025‑1.108

Untitled, 1986 Acrylic on handmade paper 23 5/8 × 17 7/8 in. (60 × 45.4 cm) Gift of the Cy Twombly Foundation 2025‑1.100

Untitled, 2005 Acrylic on handmade paper 21 15/16 × 14 15/16 in. (55.8 × 38 cm) Gift of the Cy Twombly Foundation 2025‑1.109

Untitled, 1987 Collage of paper with acrylic, oil stick, wax crayon, and graphite on paper 39 3/16 × 27 9/16 in. (99.5 × 70 cm) Gift of the Cy Twombly Foundation 2025‑1.101

Untitled, 2005 Acrylic on handmade paper 22 1/16 × 15 1/16 in. (56 × 38.3 cm) Gift of the Cy Twombly Foundation 2025‑1.110

Untitled, 2005 Acrylic on handmade paper 22 7/16 × 15 3/8 in. (57 × 39 cm) Gift of the Cy Twombly Foundation 2025‑1.111 Untitled, 2005 Acrylic on handmade paper 22 1/16 × 15 1/16 in. (56 × 38.3 cm) Gift of the Cy Twombly Foundation 2025‑1.112 Study for Triumph of Galatea, 1961 Graphite on paper 10 11/16 × 14 in. (27.1 × 35.5 cm) Gift of the Cy Twombly Foundation 2025‑1.113

33

Untitled, 1981 Oil, acrylic, wax crayon, and graphite on paper 34 5/8 × 27 3/4 in. (87.9 × 70.5 cm) Gift of the Cy Twombly Foundation 2025‑1.120 Untitled, 1982 Pastel, wax crayon, graphite, and acrylic on paper 30 × 22 3/8 in. (76.2 × 56.8 cm) Gift of the Cy Twombly Foundation 2025‑1.121

Rachel Whiteread English, born 1963 Study for White Bed, 1992 Correction fluid, ink, and varnish on graph paper 12 × 18 in. (30.5 × 45.7 cm) Bequest of Janie C. Lee 2024‑4.56

Susan York American, born 1951 Composition of Two Black Squares, 2018 Graphite Left: 6 3/16 × 6 3/16 × 3 in. (15.7 × 15.7 × 7.6 cm) Right: 6 3/16 × 6 3/16 × 7/8 in. (15.7 × 15.7 × 2.3 cm) Gift of Lannan Foundation 2024‑26.4

Terry Winters American, born 1949 Untitled, 1988 Graphite wash on paper 30 3/8 × 22 in. (77.2 × 55.9 cm) Bequest of Janie C. Lee 2024‑4.57

Double Column, no. 2, 2019 Graphite Left: 45 × 2 3/4 × 2 3/4 in. (114.3 × 7 × 7 cm) Right: 39 × 2 3/4 × 2 3/4 in. (99.1 × 7 × 7 cm) Gift of Lannan Foundation 2024‑26.5

Study for Triumph of Galatea, 1961 Ballpoint pen on paper 10 11/16 × 14 in. (27.1 × 35.5 cm) Gift of the Cy Twombly Foundation 2025‑1.114 Study for Triumph of Galatea, 1961 Graphite on paper 10 11/16 × 14 in. (27.1 × 35.5 cm) Gift of the Cy Twombly Foundation 2025‑1.115 Study for Triumph of Galatea, 1961 Graphite on paper 10 11/16 × 14 in. (27.1 × 35.5 cm) Gift of the Cy Twombly Foundation 2025‑1.116 Untitled, 1966 Graphite, wax crayon, and ballpoint pen on paper 17 × 13 5/16 in. (43.2 × 33.8 cm) Gift of the Cy Twombly Foundation 2025‑1.117 Nike [recto]; Venus [verso], 1980 Wax crayon, graphite, and house paint on paper 34 5/8 × 27 9/16 in. (88 × 70 cm) Gift of the Cy Twombly Foundation 2025‑1.118 Untitled, 1981 Oil, acrylic, wax crayon, and graphite on paper 30 1/16 × 22 1/4 in. (76.4 × 56.5 cm) Gift of the Cy Twombly Foundation 2025‑1.119

The Menil Collection Foundation Inc. received gifts of art totalling $138,075,137 in Fiscal Year 2025 (July 1, 2024–June 30, 2025).

Scholarship

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Conservation

Significant projects in FY25 included the reinstallation of A Surrealist Wunderkammer, for which Kari Dodson, Objects Conservator, and Joy Bloser, Associate Objects Conservator, examined and treated many of the works. Dodson also coordinated with a contract mountmaker to create thirty-seven new mounts for the installation. Bloser, Dodson, and James Craven, Imaging Specialist, restored the magic lantern and camera obscura to functionality. Mina Gaber, Associate Matter and Framer, also contributed to this project by reframing sixteen works using historic frames from the collection.

The Conservation team brought two of Jean Tinguely’s iconic kinetic water works, Fontaine B-7 and Fountain (1968, 1969), to life at Neighborhood Community Day on May 17, 2025. The fountains had not been on view in decades. Bloser also prepared the artist’s Dissecting Machine (1965), and M.O.N.S.T.R.E (1964), a collaborative work with Nikki de Saint Phalle, for display and activation in the galleries.

For the exhibition Joe Overstreet: Taking Flight, Desirae Dijkema, former Associate Conservator of Paintings, and Sara Kornhauser, Assistant Paintings Conservator, assisted in the complicated travel preparations of five large ten-by-twelve-foot paintings from the artist’s Door of No Return series. Once the works arrived in Houston, they were unfolded and re-stretched for installation. The team also performed treatment on several works to ensure future stability, as the exhibition traveled to the Mississippi Museum of Art after being displayed at the Menil Collection.

The Conservation team continues to contribute to scholarly research as well. Bloser presented her work on Chryssa sculptures at a symposium at the Norton Simon Museum, Pasadena, California, and the California Institute of Technology in October 2024. Dr. Cory Rogge, Director of Conservation, and Dodson saw the publication of their paper “Edward Kienholz: Digging a Deeper Truth” printed in the book Bridging the Gap: Synergies Between Art History and Conservation (Archetype Books).

2025 Annual Report

The Menil Collection

Photo: Sarah Wuenscher

37

Artists Documentation Program

The Artists Documentation Program (ADP), a collaborative project established in 1990 between the Menil and the Whitney Museum of American Art, records and publishes interviews between artists and conservators. Discussions include the materials and techniques used to create the artist’s work, as well as their wishes for the preservation and presentation of their art.

In cooperation with other staff and contractors, Jeremy Davet, former ADP Project Archivist, published interviews deep in the Menil’s production backlog; implemented a robust digital file backup structure; built records related to ADP in the Menil’s ArchivesSpace software; facilitated research requests; and prepared reports for outside ADP funders.

In FY25, two interviews were filmed. Bloser interviewed artist Leslie Hewitt, whose work Where Paths Meet, Turn Away, Then Align Again, 2013, was installed in the exhibition Abstraction after Modernism: Recent Acquisitions; and Jan Burandt, the Menil’s former Paper Conservator, spoke with Wardell Milan about his collage Pulse, 2019, which was on display in Fragments of Memory.

In May 2025, Rogge and Matthew Skopek, Melva S. Buckbaum Director of Conservation at the Whitney, copresented a talk on ADP at the Annual Meeting of the American Institute for Conservation.

Titled “Bringing in New Voices: The Next Generation of the Artist Documentation Program,” the talk focused on the past and future of ADP and was coauthored by Bloser, Davet,Kornhauser, and Farris Wabeh, Benjamin and Irma Weiss Director of Research Resources and Collection Management at Whitney Museum of American Art. ADP interviews can be found at adp.menil.org.

Joy Bloser and artist Leslie Hewitt. Courtesy of Chris Multop

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2024–25 Fellowships

Alexis Kho

2025 Annual Report

The Menil Collection

Jana La Brasca

2024–25 Internships

Audrey Storm

Charles “Mark” Haxthausen

Each year, the Menil Collection offers fellowships to established scholars and graduate students of art history and conservation at various stages of their careers.

Alexis Kho, the Andrew W. Mellon Advanced Training Fellow in Objects Conservation, graduated from the University of British Columbia in Vancouver with a Bachelor of Science in natural resources conservation and from Fleming College in Peterborough, Canada, with a certificate in cultural heritage conservation. At the Menil, Kho assists in all aspects of preparation of three-dimensional objects for exhibition and loan, including treatment, mount making, scientific analysis, and documentation. Her focus is a large and complex installation work

by Houston artist Dario Robleto.

Audrey Storm, the 2024–25 Morgan-Menil Fellow, is a Ph.D. candidate in Art History at the University of Southern California.

She holds a BA with honors from Yale University in History of Art and Economics. At the Menil Drawing Institute, she researched American Abstract Expressionist ink drawing, focusing on Mark Tobey’s sumi studies from the 1960s as well as works by Sam Francis, Franz Kline, Robert Motherwell, and Barnett Newman.

Jana La Brasca, the Menil Drawing Institute’s 2024–25 Predoctoral Fellow, received her doctorate in art history at the University of Texas at Austin. She previously earned her MA at UT Austin and a BA with high honors at the University of California, Berkeley. During her time at the Menil, she gave several seminars, presented a lecture, and continued research for her dissertation on the sculpture and drawings by Alice Aycock.

Charles “Mark” Haxthausen, the Menil Drawing Institute’s Research Fellow for Spring 2025, is a native of Houston who received his undergraduate degree in art history from the University of St. Thomas and his Ph.D. in art history from Columbia University. He is the Robert Sterling Clark Professor of Art History, Emeritus, at Williams College.

At the Drawing Institute, he investigated the issue of temporality in the art of Cy Twombly, giving a presentation and a lecture on the results of his research.

The Menil Collection offers two curatorial internships to undergraduate and graduate students enrolled in the art history departments at Rice University and the University of Houston.

Alec Story, University of Houston Graduate Intern, assisted Michelle White, Senior Curator, and Sophie Asakura, Curatorial Assistant, Modern and Contemporary Art, with archival research for the exhibition Robert Rauschenberg: Fabric Works of the 1970s.

Corey Stout, Rice University Intern, worked with Edouard Kopp, John R. Eckel, Jr. Foundation Chief Curator, Menil Drawing Institute, conducting research on the drawings of David Smith.

39

Publishing

Paperback, 112 pages 5 × 7.75 in., 41 color illustrations

Blind Folly or How Tacita Dean Draws Blind Folly or How Tacita Dean Draws covers three decades of work by the British-born European artist Tacita Dean, from sweeping chalk landscapes on blackboards to fleeting celestial phenomena on film. Michelle White, Senior Curator, proposes that the artist approaches drawing as an indeterminate journey of fate and folly, chance and medium, and argues that Dean’s strategy of adopting blindness to make an image is a response to our culturally, technologically, and ecologically unstable moment. The text is based on seven years of conversations between the author and the artist.

By Michelle White Designed by Martyn Ridgewell; printed by KOPA, Lithuania; copublished with MACK

Why Cy

Flexibound with booklet insert, 96 pages 9.5 × 13.74 in., 100 color images

Why Cy, an artist’s book by Tacita Dean published in celebration of the 30th anniversary of the Cy Twombly Gallery, is a photographic response to a night Dean spent in the building in February 2024.

Featuring immersive and hypnotic color and black-and-white photo­ graphs, as well as a separate booklet of notes made that night by Dean, Why Cy is a meditative expression of Dean’s close relationship to Twombly and his work. The book was published in a limited edition of one thousand signed and numbered copies.

By Tacita Dean Designed by Martyn Ridgewell; printed in Balzano, Italy; copublished with MACK

Joe Overstreet: Taking Flight

Hardcover, 184 pages 9.75 × 11.5 in., 85 color and 16 black-and-white illustrations

Joe Overstreet: Taking Flight is the first book to explore the dynamic, innovative work of the abstract painter Joe Overstreet (1933–2019).

Illustrated with all new photography of individual artworks and the installation at the Menil Collection, this groundbreaking survey features three scholarly essays, a detailed chronology, an overview of the artist’s connection to John and Dominique de Menil, and first-hand accounts of Overstreet’s life and career. The book focuses on three series: the shaped canvas constructions of the 1960s; the colorful 1970s Flight Pattern series, hung with ropes from the floor, walls, and ceilings; and the immense abstract paintings he made after a trip to Senegal in 1992.

By Natalie Dupêcher, with contributions by Darby English, Richard Hylton, Corrine Jennings, Rebecca Rabinow, Ishmael Reed, Abbe Schriber, and Jacqueline Siegel. Photography by Thomas R. DuBrock and Fredrik Nilsen Designed by Porter Gillespie; printed by Conti Tipocolor, Italy; distributed by Yale University Press, New Haven and London

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Research Resources

The Research Resources Department comprises three divisions united by the purpose of stewarding and providing access to the Menil’s information resources: the Library, Archives, and Imaging Services.

Library

Speaking Alone (Parler Seul), 1950. Written by Tristan Tzara, illustrated by Joan MirÓ. Book with color lithographs. Menil Library Special Collections, Bequest of William F. Stern in memory of his father, Joseph S. Stern, Jr. Photo: Caroline Philippone

The Library supports the reference, research, and scholarly needs of the museum and outside scholars. The Library added more than 925 periodicals and digital resources to its collection during FY25.

Materials from the library are regularly displayed at the Menil.

In FY25, Parler Seul: poème was installed in the Surrealism galleries, highlighting lithographs by Joan Miró. A volume of La nature: revue des sciences et de leurs applications aux arts et à l’industrie was included in A Surrealist Wunderkammer.

The library is open by appointment to students, university and college faculty, museum professionals, artists and designers, art historians, arts professionals, and writers.

Archives

2025 Annual Report

The Menil Collection

Artist Francesca Fuchs vists the Archives with Lisa Barkley, Archives Manager. Courtesy of Jay Clark Films

The Menil Archives preserves and provides access to administrative, business, and departmental records of the Menil Foundation and the museum, as well as exhibition history records, film and media materials, special collections, and the papers of John and Dominique de Menil. The Archives stewards institutional records that document the present and past activities of the museum.

The Archives fielded 355 internal and external inquiries and hosted 180 onsite research visits during FY25. Archival photographs featured prominently in the exhibition The Space Between Looking and Loving: Francesca Fuchs and the de Menil House.

In FY25, the Archives was accepted into the Bloomberg Digital Accelerator Program, which supports arts organizations through strategic improvements to technology infrastructure. With Bloomberg Philanthropies’ support, the Archives is working to ensure that the Menil’s born-digital records—emails, images, and other electronic materials—are safeguarded for the future.

Imaging Services

Caroline Philippone in the Collections Photo Studio.

Photo: Jennifer Greene

Imaging Services oversees new photography of collection objects, archival materials, and rare books. Imaging staff manage analog object photography and digital image collections in the museum’s digital asset management system (DAMS), license images to outside scholars and publishers, and secure reproduction rights for publications. In FY25, more than 15,000 digital assets were added to the Menil’s DAMS. This included more than 3,000 images of permanent collection objects and coverage of thirty-three permanent collection rotations and member programs.

Installation view of Wardell Milan, Pulse, 2019, in Fragments of Memory. Photo: Hung Truong

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Community

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Public Programs

The Menil Collection offers a variety of public lectures, conversations, and performances to deepen visitors’ appreciation of the art on view.

These programs are free and open to everyone.

During FY25, the Menil organized fifty public programs. A notable example was the Moon Party—a lunar-focused celebration inspired by the trio of On Kawara “Date Paintings” from the Today series on view in the museum’s foyer. On July 20, 2024, the anniversary of the moon landing, visitors were invited to the museum for an Apollo 11 and NASArelated lecture by NASA Johnson Space Center representative Dr. Gary H. Kitmacher, outdoor stargazing with a soundtrack by Peter Lucas and DJ Sun, NASA footage projections, and Rice University telescopes for attendees to view celestial objects.

The Menil’s annual Neighborhood Community Day took place in May 2025 and celebrated the museum’s vibrant neighborhood.

DACAMERA, Houston Center for Photography (HCP), Inprint, the Menil, Plant It Forward, Rothko Chapel, Watercolor Art Society, and Writers in the Schools (WITS) all participated in the day’s activities that had nearly 2,000 attendees.

The Menil welcomed six artists for its Artist Talk series: Jillian Conrad, Tacita Dean, Gustavo Díaz, Teresita Fernández, Wardell Milan, and Ronny Quevedo. Dean’s talk, copresented with DACAMERA, was in conversation with British composer and pianist Thomas Adès, and pianist and DACAMERA Artistic Director Sarah Rothenberg.

The Menil also hosted eight Curator Talks, eight lectures, and two book readings. Highlights included a discussion with Carol Mancusi-Ungaro on Cy Twombly; a lecture by Professor George Baker, who used passages in his latest book to respond to Tacita Dean: Blind Folly; and a lecture in memory of Bernice Rose, the Menil Drawing Institute’s inaugural chief curator. Museum goers enjoyed a writing workout in conjunction with Fragments of Memory, a drawing workshop related to Out of Thin Air: Emerging Forms, and a special conversation and informal performance by vocalist, composer, and visual artist Cécile McLorin Salvant.

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Writers in the Schools

Musical Performances and Film Screenings

Bring Your Own Beamer (BYOB). Photo: Tony Martinez

2025 Annual Report

The Menil Collection

Joe Overstreet Taking Flight panel discussion. Courtesy of BEND Productions

Allison Sniffin; Meredith Monk; and Katie Geissinger.

Courtesy of BEND Productions

Since 1989, Writers in the Schools (WITS) has brought Gulf Coast–area school children to the Menil Collection, where students create stories, poems, and prose inspired by works on view. A juried competition leads to the annual publication of the Watchful Eye anthology—a collection of poems and essays by students about their trips to the museum. The authors of the selected works are invited to participate in readings at the Menil at the end of the school year. In addition to financially supporting the program, the Menil opens its art buildings early at no charge to WITS so that the students and teachers may visit the galleries before regular business hours.

During FY25, approximately 1,545 students from twenty-four schools made field trips to the museum.

The Menil Collection partnered with DACAMERA to host seventeen concerts, including five as part of their Stop, Look, and Listen! series in conjunction with the exhibitions Fragments of Memory, Joe Overstreet: Taking Flight, and Tacita Dean: Blind Folly. One notable program was an evening of music and conversation with DACAMERA and Jeremy Eichler, the author of Time’s Echo: The Second World War, the Holocaust, and the Music of Remembrance. Pianist and DACAMERA Artistic Director Sarah Rothenberg and DACAMERA Young Artists performed Shostakovich’s Piano Trio No. 2 in E Minor in response to Si Lewen’s The Great Feast, 1964, which was on view in the Menil’s Surrealism galleries.

In celebration of the 30th anniversary of the Cy Twombly Gallery, the Menil presented two intimate performances in Richmond Hall by composer and performer Meredith Monk with renowned members of her Vocal Ensemble Katie Geissinger and Allison Sniffin.

A performance by ROCO’s professional chamber orchestra also took place in Richmond Hall, responding to the acoustically and visually vibrant installation of Dan Flavin’s light sculpture.

The Menil screened five film programs. Framing Abstraction: Short Films by Women 1920–1970, a program that presented the avantgarde visions of six women in cinema, emphasized their innovative use of visual language, unconventional narratives, and abstract storytelling techniques. On the occasion of the hundredth anniversary of Surrealism, the Menil hosted an outdoor screening of the 1958 romantic comedy Bell, Book and Candle set at the Carlebach Gallery, a “tribal arts” gallery in New York frequented by the Surrealists. Saving Cinema: A Conversation and Film Screening” featured a discussion with film preservationist Mark Toscano on the world of film preservation and the fragile future of cinema, and a screening of Tacita Dean’s film Kodak, 2006. Constant Companions, copresented with Aurora Picture Show, was held in conjunction with the installation Animals, Monsters, and Creatures from the Collection.

Support

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Support

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The Menil Collection gratefully acknowledges the following donors for their cumulative gifts of $500 and above between July 1, 2024, and June 30, 2025. Gifts shown here include all nonmembership gifts in support of annual museum operations, exhibitions, conservation, public programs, and other projects. $1,000,000 + The Brown Foundation, Inc. $500,000–$999,999 City of Houston through Houston Arts Alliance

$50,000–$99,999 Clare Casademont and Michael Metz The J.W. Couch Foundation Barbara and Michael Gamson Caroline Huber Linda and George Kelly The Henry Luce Foundation, Inc. Susan and Francois de Menil Franci Neely The Powell Foundation Vivian L. Smith Foundation Bill Stewart and Johanna Brassert Mark Wawro and Melanie Gray

$10,000–$24,999 Mary and Marcel Barone Ellen Benninghoven and Michael Schafer Bettie Cartwright Anne and Albert Chao Cece and Mack Fowler Heidi and David Gerger The George and Mary Josephine Hamman Foundation Sissy and Denny Kempner The Anne and Edgar Lackner Charitable Foundation Anne Levy Charitable Trust Cindy and Frank Liu Lois and George de Menil Betty Moody National Endowment for the Arts Carol and David Neuberger The Novum Foundation Scott and Judy Nyquist Phileas: The Austrian Office for Contemporary Art Robert Rauschenberg Foundation Manizeh and Danny Rimer Andrew Rosenfeld Courtney and Christopher Sarofim Winifred Scheuer and Kevin Bonebrake Angela and Mark Smith Judy and Charles Tate Melissa and Oliver Tuckerman Susan Vaughan Foundation, Inc. Gail Viele Estate of Marietta Voglis Cyvia Wolff Elizabeth and Barry Young

$25,000–$49,999 Jim Avant Jacquelyn Barish Diane and Michael Cannon Hilda and Greg Curran Estate of Cynthia A. Diller Sheila Noeth and Ted Dohmen Agnes Gund*

$5,000–$9,999 Kristin Andrichik and Henk Mooiweer Helyna Bledsoe and John Thompson Jereann Chaney Lidiya Gold Lucie Harte and Daniel Arnoldy Anna and Harold Holliday Jessica and Brian Leeke

$200,000–$499,000 Eddie and Chinhui Allen Kathy and George Britton, Jr. The Elkins Foundation Allison Sarofim Sarofim Foundation Texas Commission on the Arts

The Menil Collection

$100,000–$199,999 Nora and Bob Ackerley Suzanne Deal Booth Cockrell Family Fund The Cullen Foundation John R. Eckel, Jr. Foundation Cecily E. Horton Dillon Kyle and Sam Lasseter Bérengère Primat Morris A. Weiner and Leslie Field Lea Weingarten The Wortham Foundation, Inc. Nina and Michael Zilkha

2025 Annual Report

Janet and Paul Hobby Ann and John Johnson Nancy McGregor Manne and Neal Manne Leslie and Shannon Sasser The Clarence Westbury Foundation Mary and Greg Whalley

Alison Leland Shelli and Steven Lindley Fan and Peter Morris Tracy and William Northington Marilyn Oshman* Beverly and Howard Robinson Karlsson and Brian Salek John Sapp Kelley and Jeffrey Scofield Julia and John Stallcup Jennifer and David Strauss Mike Stude Cynthia Toles Anat and Jay Zeidman John Zipprich $1,000–$4,999 Benjamin Ackerley AHB Foundation Anaceli Aldaz and Javier Del Olmo Kathryn Austin Katherine Avery Sarah Balinskas Katharine Barthelme and Shane Frank Julie and Ryan Bergeron Carolyn Bloomer Kate and Joseph Cavanaugh Gracie and Robert Cavnar Julie and John Cogan, Jr. Diane Connelly Margaret Vaughan Cox and Jonathan Cox Peilin Cui Jane and Bill Curtis Margot and Zach Davis Megan Davis Liz and George DeMontrond Brenda and Kenneth Dillon Kim and Anatol Feygin Mary Foster Illa and William Gaunt Laura Groppe Terri and Troy Hamm Rock Jacobs George W. Johnston Kirkpatrick Family Fund Katie Kitchen and Paul Kovach Kiki and Taylor Landry Doug Lawing and Guy Hagstette Elizabeth Linnell Robert Lorio Michael Manteris

Mary Marold Annie and Taylor Mason Hayden and David McGuiness Stephen Miranda and Blake Mudd Alison and Tony Mustoe Margaret Naeve Dean Narahara Capera and Igor Norinsky Cabrina and Steve Owsley Sue Payne Olivia and Edward Persia Madeleine and Harvey Plonsker Mary Hammon Quinn and Jacob Quinn Fairfax and Risher Randall Isla and Thomas Reckling Lisa Rich and John McLaughlin David Ruiz Lea Salamoun and Marouen Dimassi Victoria Salem Sandberg Family Charitable Fund Sarah Beth and Paul Seifert Diana Skerl

Sandra Tirey and Jan van Lohuizen Heather and Robert Westendarp Andrea and Bill White Tarin Wilson Beth and James Woldert Nancy Worthington-Broyles Lisa Young and Matthew Assiff Erla and Harry* Zuber $500–$999 Kelly Barnhart Patricia Beaver-Skakun and Gary Skakun Susan Boone Marianna and Chris Brewster Alan Brochstein Yini and Dane Collette Lauri and Christopher Cragg Paula Daly Lindsay and Charles Fehr Sarah Foltz Charles Fuhs and Christopher Hlavinka Lloyd D. Gray

Alecia Harris Bradley Houston Lee Huber Sara Kelly Zoya Tommy Kemp Rajiv Kohli Ritsuko Komaki Kristen and Matthew Loden Caroline Negley Eliza H. Ozden Jessica Phifer The Muriel Pollia Foundation Jennifer Segal Orel Shoham Andrea Siso Michael Slenske Linley Stroud The Thompson Fund Milton Townsend Sally Vernon James Calvin Williams

What drawing can be: four responses public opening. Photo: Hung Truong

*Deceased

Menil Society

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2025 Annual Report

The Menil Collection

The Menil Society is a group of committed patrons who enjoy a close relationship with the Menil Collection. Members are dedicated to fostering deeper engagement with the museum, its mission, and its world-renowned collection by generously supporting exhibitions, programming, and the museum’s annual fund.

Benefactor Nora and Bob Ackerley Diane and Michael Cannon Bettie Cartwright Clare Casademont and Michael Metz Kate and Joseph Cavanaugh Julie and John Cogan, Jr. Marsha and Samuel Dodson Laura and Walter Elcock Caroline and Jeremy Finkelstein Cindy and David Fitch Cece and Mack Fowler Barbara and Michael Gamson Agnes Gund* Judith and Marc Herzstein Janet and Paul Hobby Linda and George Kelly Sissy and Denny Kempner Karol Kreymer and Robert Card Dillon Kyle and Sam Lasseter Doug Lawing and Guy Hagstette Margery and Robert Loeb Nancy McGregor Manne and Neal Manne Cynthia and Robert McClain Susan and Francois de Menil Sara and Bill Morgan Kimball and David Moriniere Franci Neely Carol and David Neuberger Scott and Judy Nyquist Anaeze Offodile II Karen and Harry Pinson Susanne and William E. Pritchard III Kathryn and Richard Rabinow Leslie and Shannon Sasser Kelley and Jeffrey Scofield Lois and George Stark Bill Stewart and Johanna Brassert Mark Wawro and Melanie Gray Morris Weiner and Leslie Field Elizabeth Weingarten Marion Wilcox Cyvia Wolff Nina and Michael Zilkha Friend Benjamin Ackerley Jacquelyn Barish Melza and Ted Barr Cynthia and Laurence Burns Angela and William Cannady Jereann Chaney

Jane and Bill Curtis Linda and Simon Eyles Amanda and Morris Gelb Heidi and David Gerger Elizabeth Glassman Alessandra Grace and Sam Gorgen Claudia and Karsten Greve Melissa and Albert Grobmyer Anna and Harold Holliday Elise and Russell Joseph Page Kempner Jeanne and Michael Klein Cornelia Long Poppi Massey Lisa Rich and John McLaughlin Sarah Morian and Michael Clark Anne and John Moriniere Lillie Robertson Angela and Mark Smith Julia and John Stallcup Judy and Charles Tate Martha Claire Tompkins Margaret Vaughan Cox and Jonathan Cox Gail Viele Ann Wales Andrea and Bill White Elizabeth and Barry Young John Zipprich Fellow Carlos Bacino Mary and Marcel Barone Jeff Beauchamp Leah Bennett Lesley and Gerald Bodzy Sharon Cheng Amy Sutton and Gary Chiles C.C. Conner, Jr. and David Groover Lauri and Christopher Cragg Paula Daly Rod Danielson and Kelly Dehay Megan Davis Brenda and Kenneth Dillon Nancy Dunlap Carrie Ermler Mary Foster and Donald DeSimone Ryan Goodland and Evan Leslie Joyce Goss Joy and Don Haley Jennifer Hau and Drew Boling Shanna Hennig Angela and Craig Jarchow

Anne L. Kinder Terry Mahaffey Mari and Greg Marchbanks Rebecca Marvil and Brian Smyth Fan and Peter Morris Stephen Schwarz and Michael Naul Mari Omori Cabrina and Steven Owsley Evelyn Pappas Chris Goins and Josh Pazda Olivia and Edward Persia Jessica Phifer Mary Hammon Quinn and Jacob Quinn David Ruiz Karlsson and Brian Salek Victoria Salem Winifred Scheuer and Kevin Bonebrake Marc B. Schindler Izzy and John Schulte Liana and Andrew Schwaitzberg Sarah Beth and Paul Seifert Christine Traversi and Binod Shrestha Kelly and Nick Silvers Leigh and Reggie Smith Jennifer and David Strauss Cynthia Toles Margaret and Kenneth Williams Associate Maida Asofsky Mary Axelrad and Malcolm F. King, Jr. Sarah Balinskas Ilene and Paul Barr Nana Booker Paul L. Bowman Kathleen Boyd Marianna and Chris Brewster Richard Brooks David Brown Lora Wildenthal and Carl Caldwell Virginia and William Camfield Julia Doran and Adam Carlis Chris and William Caudill Helen and Benjamin Cohen Patricia Colville George Connelly Nancy and Taylor Cooksey Elizabeth and Steven Crowell Rozina Damani and Devon Rosenfeld Emily and Damon Daniels Liz and George DeMontrond Devon DiVito

Sheila Noeth and Ted Dohmen Joell and Thomas Doneker James Dunn Nanette Garelis Diana Garza and Peter McLaughlin Leslie Gassner Elizabeth and Wayne Gibbens Kathy and Martyn Goossen Timothy Green Anna Hanks Sarah and John Hastings Dorene and Frank Herzog G.G. Hsieh Lee Huber Fredericka Hunter and Ian Glennie Greg Ingram James Kelly Wendy and Mavis Kelsey Malcolm F. King, Jr. Carla Knobloch Ann and Timothy Koerner Katherine Kohlmeyer Devika Kornbacher

Christa and Aivars Krumins Cynthia and Campbell Lange Alison Leland Joan Schnitzer Levy Carol LeWitt Christine and Graham Makin Judy and Rodney Margolis Gaye and Edward McCullough Betty Moody Crystal Moore and Christopher Hubbard Sealy Moore Jennifer Nelsen and Vinod Pathrose Evelyn Nolen Maureen and Paul Perea Andrea and Carl Peterson Kara Przybyl McIver and David McIver Nancy and David Pustka Fairfax and Risher Randall Michael Reade Isla and Thomas Reckling Kristen Castellanos Ridgway and David Ridgway Beverly and Howard Robinson

Menil Society Unframed. Photo: Caroline Philippone

Winnie Scheuer; Joe Cavanaugh; David Ruiz. Photo: Jenny Antill

Leslie and Russ Robinson Frank Rynd Neda Scanlan Bryan Scrivner María Inés Sicardi Ellen Simmons Douglas H. Smith Josephine and Richard Smith Janet and John Springer Eliza and Stuart Stedman Jane and Gary Swanson John Anderson and Alfredo Tijerina Sandra Tirey and Jan van Lohuizen Emily Todd Susie and Payson Tucker Adrienne and Timothy Unger Pavlina Vagioni and Matthew Hughes Lauren Walstad Hardy Heather and Robert Westendarp Waverly White Gage Marie and William Wise Skyler Wyatt * Deceased

Julia and John Stallcup. Photo: Jenny Antill

Menil Society Conservators Choice. Photo: Caroline Philippone

Charmstone Circle

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The Menil Collection’s Charmstone Circle recognizes individuals who make annual financial gifts to the museum of $25,000 or more. Menil Society memberships, exhibition support, and unrestricted giving all count toward Charmstone Circle recognition. Charmstone Circle donors enjoy unparalleled access to the museum and the collection and are celebrated at an unforgettable annual dining and art event with Rebecca Rabinow, Director.

Nancy and Mark Abendshein Nora and Bob Ackerley Eddie and Chinhui Allen Jim Avant Jacquelyn Barish Suzanne Deal Booth Kathy and George Britton, Jr. Diane and Michael Cannon Clare Casademont and Michael Metz Stephanie and Ernest Cockrell Hilda and Greg Curran Sheila Noeth and Ted Dohmen Cece and Mack Fowler Barbara and Michael Gamson

Agnes Gund * Janet and Paul Hobby Cecily E. Horton Caroline Huber Ann and John Johnson Linda and George Kelly Dillon Kyle and Sam Lasseter Doug Lawing and Guy Hagstette Isabel and Ransom Lummis Nancy McGregor Manne and Neal Manne Susan and Francois de Menil Franci Neely Carol and David Neuberger Scott and Judy Nyquist

Corporate Support

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Bérengère Primat Susanne and William E. Pritchard III Monica and Bradley Radoff Leslie and Shannon Sasser Bill Stewart and Johanna Brassert Judy and Charles Tate Mark Wawro and Melanie Gray Morris Weiner and Leslie Field Lea Weingarten Mary and Greg Whalley Elizabeth and Barry Young Nina and Michael Zilkha

Lea Weingarten; Judy Nyquist; Heidi Gerger. Photo: Rob Greer

* Deceased

The Menil Collection is pleased to recognize gifts from corporations in Fiscal Year 2025. $ 100,000+ Bloomberg Philanthropies $35,000–$99,999 Frost Bank $25,000–$34,999 H-E-B Lugano SLB

$10,000–$24,999 Central Houston Cadillac Hotel Saint Augustine Houston Trust Company Marek Brothers Systems The Novum Foundation PNC UBS White & Case LLP WordPress

$5,000–$9,999 Bank of America Bellows Construction Vinson & Elkins LLP Womble Bond Dickinson

Glass Key Society Named after a beloved painting by René Magritte, the Glass Key Society honors individuals who have included the Menil Collection in their wills, personal trusts, or other planned giving arrangements. Through their thoughtful contributions members of the Glass Key Society help to ensure a vital future for the museum. For information about making a legacy gift, please contact Judy Waters, Director of Advancement, at 713–525–9425 or jwaters@menil.org.

The Menil Collection

Installation view of René Magritte, The Glass Key, 1959. The Menil Collection, Houston. © 2021 C. Herscovici / Artists Right Society (ARS), New York. Photo: Sara Beck

2025 Annual Report

In-Kind Support Christie’s City Kitchen Catering Eureka Heights Brewing Company Jackson & Company The Petaler Floral and Events Co.

Anonymous (4) Jeff Beauchamp Collection of Mollie R. and William T. Cannady Tripp Carter Bettie Cartwright Julie and John Cogan, Jr. Helen and Benjamin Cohen Christy and Louis Cushman Diane Arnold and Bill Frazier Mark Fehrs Haukohl Alex Heylen and Monika Lybeer Greg Ingram Paige and Todd Johnson Vladimir Khaoustov Douglas L. Lawing Terry Mahaffey Mary Hale Lovett McLean Marc Melcher Franci Neely Laurie Newendorp Susanne and William E. Pritchard III Cynthia Toles Morris Weiner John L. Zipprich II

Membership

Patron William K. Adam Anaceli Aldaz Phyllis Panenka and David Archer Marilyn Archer and Jack Eby Robert Blocker Nancy and Scott Bolduc Pauline Bolton Marjorie and J. Walker Cain Cathryn Chapman Sarah and Joseph Cheavens Steven Cowart Robert and Michael Dale Jimmy Dunne Thomas Edens Clayton Erikson Jordan Faires Britt Jung and Joseph Fischer Kathleen and John Fitzgerald Donna and Gary Freedman Kerry Anne Galvin Mary Laura Gibbs Irma and Kirk Girouard Lenja and Lance Gould Margaret Griffith Laura Groppe Paul Grossbard Richard Gruen Paige and George Hagle Joshua Hansel Allan James Heindel Carola Herrin and David Ivie Olive Hershey and Arvin Conrad Holly Holmes Patricia Hunt and Joseph Milton David K. Johnson Tayyba Kanwal and Rashed Haq Ann and Thomas Kelsey Peaches and Harris Kempner Elizabeth and Albert Kidd Eric J. Kirkpatrick Rajiv Kohli Ritsuko Komaki Frank R. Larkey Benigna and Ernst Leiss Carol and Paul Liffman Juan Mangini Misty and Surena Matin Michelle and Bill Matthews Jean and Henry May Beth McCracken Jean S. Mintz

Margaret and Duane Montana Janet Moore Matthew Morgan Brian and Jennifer Moss Lee Ann and Douglas Murphy Renae and Prashant Murti Richard C. Nebel, Jr. Mark H. Onak Mariela Poleo Carol and Daniel Price Macey and Harry Reasoner Jo Reid George Fred Rhodes Ana Nino-Rodriguez and Jorge Rodriguez Melanie L. Rogers Cory Rogge and Kevin MacKenzie Ellen Safier Marna and Frederick Schacknies Sara Shackleton and Michael McKeogh Karen Shouse Anita and Gerald Smith Brooksy Smith Ann and John Smither Ellen and Leonard Sobel Alana Spiwak and Sam Stolbun John S. Steele Brian Stephens Michael Stewart Esther and Shawn Tell Karen Tell Nanette and David Toy Patricia Troncoso and William Pugh Kathy Welch and John Unger Sally Vernon Lara Landmesser and Frederic Warner Wendy Watriss Janna Webber Donald J. Weissman Tangerine Summer and Michael Weller James Calvin Williams Nancy and Mark Wozny Joy Yeager Steve Nall and Tom Young Sponsor Gayle Goodman and Kenneth Adam Ann and James Allison Claire and Wayne Douglas Ankenman Steven Hooker and Rick Ankrom Susie and David Askanase Claudia Baba Jerry Baiamonte

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Beverly Barrett William Bartlett Jan and David Bean Nancy Glass and John Belmont Rita Bergers and Joel Abramowitz Shirley and Stanley Beyer Carolyn Bloomer Jane and Roger Boak Minnette and Peter Boesel Kathleen and Randy Bolton Linda and Philip Boyko Andrew Brickell Marilyn and Terry Brooks Heather L. Brown Lisa Ineson and Ian Bryant Jan Burandt G.R. Burtner III Kathleen and Robert Butts Nancy Caminiti and Brian Michna Darleen Carstarphen Andrea Chiappe Rhoda and Allen Clamen Julie Cohn and John Connor Deborah and William Colton Dorothy and Samuel Crocker Peilin Cui Rochelle Cyprus N. P. and Thomas Daly Anne and Steven Davee Diana Davis Robbin and Alice Dawson Barbara and Jonathan Day Raxa Desai Amy and Larry Dooley Martha and Daniel Dupêcher Jane Eifler David R. Eisenbeiss Annette and John Eldridge Kathleen and Keith Ellison Katy Emde Linn Swartz and Milton Erickson Pamela Fazzone Robert Feldman Milton J. Finegold Ann Fisher Rodi and Robert Franco Penny Milbouer and Shep Glass Julia and Daniel Goldman Cheryl and Stephen Golub Michael B. Good Samuel Gorman Caroline and M. P. Graham

Menil members at the Sponsor level and above during the Fiscal Year 2025 (July 1, 2024–June 30, 2025) are listed. Every effort has been made to ensure that this list is accurate.

If errors or omissions have occurred, please accept our sincere apologies and contact membership@menil.org.

2025 Annual Report

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Nonya and Jonathan Grenader Maureen and Gary Hall Allison Heinen Toshiko and Burton Hering Ann Derryberry and Paul Herrera Tiffany and Adam Hill Mark Hodges Alan Hoffman Alan Hurwitz Raymond Hylenski Clifford Helmcamp and Jerry Jeanmard Kris and Mark Jodon George H. Johnson, Jr. Edwin Johnstone Karen and Kenneth Jones Donna Kacmar Jennie Karotkin Ann and Stephen Kaufman Kim Pashko and David Kelley Harvey and Anne Klein Sheryl Kolasinski Victoria and Alex Lazar Laura and Barry Leavitt Eve Leonard Christina and Winton Lindsay Barbara and Larry Lipshultz Chris Lockwood Andrea R. Logans Mary Lynn Amy Madsen Nitza and Moshe Maor Shelley and Mark Marmon Charles S. Martens Maria and Alexandre Matuszczak Philip and Anna Mavromatis Jacklyn and Malcolm Mazow Robert McBee Mary C. McConnell Wilmer McCorquodale Jacki and Frank McCreary

Louise McCullough Georgia and Joel McGlasson Mary McIntire and James Pomerantz David S. McKee Roni McMurtrey Karen McRae Maria Merrill Nancy and Robert Mollers Jill and B. J. Mulloy Barbara and William Myerson Stephen Naber Michael E. Newmark Sandra Nugent Steve Nussbaum Morgan Dunn O’Connor Carla O’Dell Betty and Duncan Osborne Frances and Walter Pagel Barbara and Mark Paull Susan Pepper Joan and José Pérez Linda W. Petersen Jan-Claire Phillips and Jerome Kendall Lynn and Mark Pickett Esther and Gary Polland Kathrin Brunner and Albert Pope Lara and James Powers Katherine and Michael Putnam Eamonn M. Quigley Adele and Martin Raber Jennifer and Peter Ragauss Antonio Castro and Thomas Raguse Maura and Walter Ritchie Margot and Richard Rodriguez Daisy Lee and Bradley Roe Nathalie and Charles Roff Jane S. Root Lynn and Alex Rosas Janet Ross Casey and Kevin Rowe

Linda and Jerry Rubenstein Barbara Volkmer and Pablo Ruiz-Berlanga Diane and Ron Sandberg Franca B. Sant’Ambrogio Gemma and Luis de Santo William Schleuse* Walter Schneider Jennifer Segal Caoimhin Shirey Christine and Michael Sigman Renie and Louis Silver Barbara and Louis Sklar Patricia and Fielding Smith Kathryn and Craig Smyser Clarice Snokhous Michael Stavinoha Katherine and Robert Steely Karen Sumner Mary Lou Swift Willard and Mary Tarpey Ann-Marie Tcholakian Michael and Roberto Tejada Richard Bebermeyer and Randolph Tibbits Phillip and Edda Tinis Eleanor and Jon Totz Anne Tucker and Robert Morris Jane and Eric Twombly Patricia and Steven Uchytil Allen W. Ueckert Aysha Kassim-Voronoff and Chester Urban Katherine Osborne Valdez and Pablo Valdez Monica S. White Kara R. Williams Nancy Williams and N. L. Stevens Natalie and Clint Wilson Carolyn N. Wolfe Michele Wood Lauri and Robert Wray * Deceased

Jackson Smith and Stephanie Wong Smith; Anita Smith; Heidi Smith; Gerald Smith. Photo: Daniel Ortiz

Orel Shoham; Victoria Salem; Katie McNearney; Peilin Cui and Michael Ouyang. Photo: Jenny Antill

Menil Contemporaries

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The Menil Contemporaries is a membership group for emerging patrons, collectors, and art enthusiasts who share a common passion for the Menil Collection. Menil Contemporaries are the next generation of leaders and advocates of the Menil.

Partner Sarah Abare and Chris Carlberg Benjamin Ackerley Saber and Samee Ahmed Stephanie Aleixo Kathryn Austin Azie Aziz Melanie and Mitchell Baldridge Leyla Ballantyne Alkesta and Curtis Belknap Anne and Jack Bellows Libba and Geer Blalock Elizabeth and C. Walker Brierre Jessica and Taylor Chapman Emily and Jeffrey Church Kelli Comiskey Emma and Ryan Cordill Cindy and Peter Cortez Peilin Cui Vipul Devluk

Laura Donnelly Rob Eichenlaub Margo Fendrich and Tommy Nguyen Sarah Foltz Catherine and Patrick Gillespie Rachel and Wesley Haines Terri and Troy Hamm Haley and John Hawkins Jessica Hays and Patrick Ryan Haley and Adam Karren Madeline Kelly Lauren Klotzman Kiki and Taylor Landry Megan Light Amy Liles and Kevin Liles Patrick F. Mauel Jack McBride and Thain Allen Morgan and Charles McGee Sara and Michael McGinnis Katie F. McNearney

Jimmy R. Moffett Reyad Nasser Phil Nevlud Tracy and William Northington Eliza H. Ozden Guillermo Peralta Rebecca Proler Sara Maxey and Fernando Ramos Valery Piedra and Daniel Salahuddin Lea Salamoun and Marouen Dimassi Karlsson and Brian Salek Orel Shoham Andrea Siso Margaret and Thomas Smith Connor Stacy Linley Stroud Vicky and Gordon Wight Ana and Philippe Wulfers

2025 Annual Report

The Menil Collection

Menil Contemporaries On Display. Photo: Caroline Philippone

Member Noontime Talks

Held on two Fridays each month, Member Noontime Talks are a way for Menil members to learn about the art on view and projects in progress across our 30-acre neighborhood. Talks are led by Menil staff from a variety of departments, including Archives, Conservation, Curatorial, Facilities, and Publishing. The Menil presented twenty-three Noontime Talks in FY25.

Photo: Caroline Philippone

2025 Annual Report

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Behind the Scenes

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Collection Management

Installation of A Surrealist Wunderkammer.

Photo: Caroline Philippone

2025 Annual Report

The Menil Collection

Outgoing Loans

The Menil’s Collection Management department consists of Registration, Art Services, and Collection Database Administration.

Registration oversees all documentation related to the acquisition, exhibition, and storage of artworks in the permanent collection.

The Collection Management department coordinates all exhibitions and gallery rotations, as well as incoming and outgoing loans.

Registrars manage contract negotiations, fine art insurance, packing and crating, shipping, couriers, and electronic and physical file management for all projects. In FY25, Registration arranged 190 shipments containing 921 objects.

The most complex of the loans coordinated by Collection Management during FY25 was the four-month loan of thirty of the Menil’s most prized artworks by René Magritte to the Art Gallery of New South Wales in Sydney, Australia, from October 2024 to February 2025. Requiring eight shipments (four to Australia and four returning to Houston) and fourteen specially designed and built crates, each shipment was accompanied by a courier from the Menil’s Collection Management or Conservation staff. Thanks to the team’s exceptional logistical skills, all of the artworks traveled safely.

The Art Services team is responsible for packing and crating incoming and outgoing loans, installing exhibitions, monitoring storage areas, tracking location moves, and couriering outgoing loans with complex installation requirements. In FY25, Art Services installed six exhibitions and twenty-two rotations and made 4,773 object moves.

The Collection Database team continually uploads data on artworks from the permanent collection to the Menil’s internal database and website. Approximately 2,200 entries are currently available to the public, 200 of which were added in FY25.

During FY25, the Menil Collection loaned sixty objects to thirteen institutions in four countries: Art Gallery of New South Wales, Sydney, Australia Blaffer Art Museum, Houston, TX Blanton Museum of Art, Austin, TX Fondation Opale, Lens, Switzerland J. Paul Getty Museum, Los Angeles, CA The Jewish Museum, New York, NY Laguna Art Museum, Laguna Beach, CA Metropolitan Museum of Art, New York, NY Museum of Fine Arts, Houston, TX Museum of Modern Art, New York, NY The National Gallery, London, United Kingdom

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Attendance

In FY25, the Menil Collection welcomed 209,146 guests to the museum.

This number represents visitors to the main museum building, Cy Twombly Gallery, Menil Drawing Institute, Dan Flavin Installation at Richmond Hall, and Menil Bookstore.

Installation view of What drawing can be: four responses. Photo: Rob Greer

Financials

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Operating Revenues Contributions and Grants Membership Program Revenue

$ 5,065,396

Contributions for Art Acquisitions 8% Menil Campus Real Estate 8%

$32.0 Million

Contributions and Grants 17%

1,147,268 939,516

Investment Funds Designated for Current Year Operations

18,200,000

Menil Campus Real Estate

2,347,827

Contributions for Art Acquisition

2,505,346

Total Operating Revenues

Operating Revenues

63

Membership 4% Program Revenue 3%

$ 30,205,353

Operating Expenses Curatorial and Collections

$ 6,121,259

Education and Public Programs

2,293,384

Exhibitions and Displays

6,763,816

Membership Activities

681,632

Buildings and Grounds

2,209,917

Capital Improvements

3,550,891

Fundraising

1,468,311

Management and General

3,775,718

Cost of Art Acquisition

2,902,159

Total Operating Expenses

Operating surplus /(deficit) before depreciation and amortization

$ 29,767,087

$ 438,266

2025 Annual Report

The Menil Collection

Investment Portfolio Unrestricted

$ 119,479,816

Temporarily Restricted

155,009,315

Permanently Restricted

136,246,732

Total Investments

Investment Funds Designated for Current Year Operations 60%

Operating Expenses

$30.5 Million

Cost of Art Acquisition 10% Management and General 13%

Curatorial and Collections 20%

Education and Public Programs 8%

Fundraising 5%

$ 410,735,863

Capital Improvements 12% Buildings and Grounds 7% Data is derived from the financial statements of the Menil Foundation, Inc., as of June 30, 2025. A complete set of the Menil Foundation, Inc., audited financial statements for 2024–25 is available on request.

The adjusted financials exclude $1,851,480 of Contributions and $805,346 of Capital Improvements related to the multi-year project at 3363 San Felipe Road, the historic property of John and Dominique de Menil.

Exhibition and Displays 23% Membership Activities 2%

Curatorial and Collections include: Archives, Collections Management, Conservation, Curatorial, and Library.

Education and Programs include: Bookstore, Communications, Public Programs, and Publishing.

Staff

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Director’s Office Rebecca Rabinow, Director Mariana Kessler, Assistant to the Director, Internal Affairs Maryhelen Murray, Senior Assistant to the Director and Board of Trustees

2025 Annual Report

The Menil Collection

Administration Matthew Assiff, Chief Financial Officer Xuguang (Toby) Zhao, Controller Nida Fatima, Assistant to the Chief Financial Officer William (Bill) Jukes, Financial and Budget Manager Shiow-Chyn (Susie) Liao, Assistant Controller Daniel Matthews, Accounts Payable and Payroll Specialist Makinsey Nehib, Senior Accountant Advancement Judy Waters, Director of Advancement Madeline Kelly, Director of Individual Giving Qasim Ali, Membership Associate Debra Barrera, Manager of Membership and Visitor Services Carolina Borja, Corporate Giving Officer Samuel Ferrigno, Manager of Individual Giving Seneca Garcia, Visitor/Membership Assistant, Menil Drawing Institute Monique Harris, Visitor/Membership Assistant Dayanara Hernandez, Visitor/Membership Assistant Andrew Kozma, Monday/Tuesday Branard Street Receptionist Hannah Lange, Manager of Patron Programs Kelly Moore, Visitor/Membership Assistant Alyssa Reese, Assistant to the Director of Advancement Enelra Joyce (EJ) Rizalde, Visitor/Membership Assistant Virgilio Ruiz, Visitor/Membership Assistant Jennifer Sanders, Development Services Associate Martin Schleuse, Manager of Foundation Relations Lili (Kaneem) Smith, Visitor/Membership Assistant, Cy Twombly Gallery Lilly Smith, Member Events Coordinator Annie Stafford, Director of Special Events Breanna Word, Special Events Coordinator Bookstore Paul Forsythe, Bookstore Manager Hannah Cohen, Bookstore Associate Collection Management Catherine Fitzgerald Eckels, Interim Associate Director of Collection Management Stephanie Harris Akin, Interim Registrar, Menil Drawing Institute Nadia Al-Khalifah, Assistant Registrar, Collections and Exhibitions David Aylsworth, Collections Registrar Anna Foret, Associate Registrar, Loans and Exhibitions Brandon Galvan, Collection Management Coordinator

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Jonathan Groom, Associate Art Preparator, Crating and Storage Michelle Gude, Assistant TMS Administrator Christopher Henry, Art Preparator Sirena LaBurn, Assistant Registrar, MDI Robert (Ole) Petersen, Art Preparator Tony Rubio, Chief Preparator Charles (Patrick) Yarrington, Art Preparator, Menil Drawing Institute Conservation Corina (Cory) Rogge, Director of Conservation Joy Bloser, Associate Objects Conservator Dominic Clay, Conservation Studio Technician, Menil Drawing Institute Chloe Cook, Conservation Department Manager James Craven, Conservation Imaging Specialist Annie Daubert, Conservation Records Administrator Jeremy Davet, Project Archivist, Artist Documentation Program Desirae (Desi) Dijkema, Associate Paintings Conservator Kari Dodson, Objects Conservator Mina Gaber, Associate Matter/Framer Alexis Kho, Andrew W. Mellon Advanced Training FellowObjects Conservation Sara Kornhauser, Assistant Paintings Conservator Curatorial Edouard Kopp, John R. Eckel, Jr. Foundation Chief Curator, Menil Drawing Institute Paul R. Davis, Curator of Collections Michelle White, Senior Curator Sophie Asakura, Curatorial Assistant, Modern and Contemporary Art Constance Champagne, Administrative Associate, Menil Drawing Institute Natalie Dupêcher, Associate Curator of Modern Art Clare Elliott, Associate Research Curator Kirsten Marples, Assistant Curator, Menil Drawing Institute Kelly Montana, Associate Curator, Menil Drawing Institute Victoria Nerey, Collections Research Assistant Jaqueline Siegel, Research Assistant, Modern and Contemporary Art Blanca Wilson, Administrative Assistant, Curatorial Department Sarah Beth Wilson, Senior Exhibitions Manager Exhibition Design Kent Dorn, Exhibition Designer Alejandro (Alex) Rosas, Exhibition Design Assistant Vincent Krough, Exhibition Design Technician Human Resources Suzanne Maloch, Director of Human Resources Perla Mancillas, Senior Human Resources Generalist

Information Technology Christopher (Chris) Dague, Director of Information Technology Albert Diaz III, Network Support Specialist Marketing and Communications Sarah Hobson, Director of Marketing and Communications Jennifer Greene, Senior Communications Manager Amanda Thomas, Senior Graphic Designer Sarah Wuenscher, Marketing Manager Museum Facilities Wesley Haines, Director of Facilities Chris Akin, Administrative Assistant, Facilities Department Juan Buenrostro, Custodian Nick Cedillo, Lead Custodian Bridget Eldredge, Security Technical Lead Ernest Flores, Maintenance Assistant Roberto Gonzalez, Grounds and Custodial Supervisor Jack Patterson, Facilities Coordinator Alvin Ramirez, Groundskeeper Marco Ramirez, Groundskeeper Rubidia Rivas, Custodian Shivnaraine (Shiv) Sewnauth, Facilities Engineering Manager Philip Soto, Maintenance Assistant Javier Verduzco, Custodian

Aailyah Fields, Gallery Attendant Aurelia Gallegos, Gallery Attendant Sadiri Gallegos, Gallery Attendant Jamarcus (Jay) Gilmore, Gallery Attendant Jorge González, Gallery Attendant Nydia Gutierrez, Gallery Attendant Earl Harris, Control Room Monitor Halley Heckman, Gallery Attendant Heilen Hernandez, Gallery Attendant Shawnie Hunt, Control Room Monitor Bordin Keplar, Gallery Attendant Reynaldo Legaspi, Gallery Attendant Jesper Panessah, Gallery Attendant Ched Pelayo, Gallery Attendant Meichelle Robinson, Gallery Attendant Carlos Rodriguez, Gallery Attendant Nicholas Rodriguez, Gallery Attendant Kenneth Sherman, Gallery Attendant Carlos Silva, Gallery Attendant Jacqueline Yagao, Gallery Attendant Macario Yagao, Gallery Attendant Tatena (Judy) Young, Gallery Attendant *Staff list as of June 30, 2025

Project Development Justin Doak, Senior Project Manager Mary Hohlt, Capital Project Coordinator Brooke Stroud, Design Advisor Public Programs Mary Magsamen, Manager of Public Programs Anthony (Tony) Martinez, Programs Coordinator Publishing Joseph N. Newland, Director of Publishing Eileen Owens, Associate Editor Research Resources Margaret C. McKee, Director of Research Resources Lisa Barkley, Archives Manager Krista M. Hollis, Assistant Archivist Philip Karjeker, Imaging Services Specialist Caroline Philippone, Photographer Donna Török-Oberholtzer, Associate Librarian Safety and Security Sonny Smith, Director of Safety and Security Latisha Gilbert, Gallery Attendant Supervisor Mirzama Sisic, Gallery Attendant Supervisor Arceli Arcilla, Gallery Attendant Trainer Vera Hadzic, Assistant Gallery Attendant Supervisor Cynthia Ballard, Gallery Attendant Charles Bradley, Gallery Attendant Delana Bunch, Gallery Attendant Carl Chaney, Control Room Monitor William Cuevas, Control Room Monitor Franklin Collantes, Gallery Attendant Paulita Del Gallego, Gallery Attendant Virginia Dolormente, Gallery Attendant

Copyright © 2025 Menil Foundation, Inc. All rights reserved.

Published by the Marketing and Communications Department Jennifer Greene, Editor Amanda Thomas, Graphic Design The Menil Collection 1533 Sul Ross Street Houston, TX 77006 713-525-9400 Museum and Bookstore hours: Wednesday–Sunday, 11 a.m.–7 p.m.

Free admission, always.

Free parking at 1515 West Alabama Street menil.org Photo credits: Cover, photo: Lauren Marek; pp. 2–3, photo: Hung Truong; pp. 10–11, Installation view of Tacita Dean, The Montafon Letter, 2017, in Tacita Dean: Blind Folly. Photo: Lauren Marek; pp. 20–21, Installation view of Christina Quarles, Play Yer Part, 2023. Photo: Sarah Wuenscher; pp. 34–35, photo: Lauren Marek; pp. 42–43, photo: Lauren Marek; pp. 46–47, photo: Frank Hernandez; pp. 58–59, photo: Lauren Marek