From Radiance and Reverie: Jewels from the Collection of Neil Lane (see p. 32)
02 From the Director’s Desk
What does it mean to create—and let go?
Think
08 Modern Masterwork
Celebrating SANAA and the brilliance of the Glass Pavilion.
10 Infinite Possibilities
Explore an exhibition where code becomes canvas.
16 Investing in Access, Inspiring Innovation
Mike Thaman champions technology as a tool for engagement.
Discover
20 Creative Sparks
Inside the joyful, art-filled world of TMA’s Family Center.
26 Art on the Move
See where our collection is traveling around the world.
28 A Closer Look
Kay WalkingStick reframes American landscape and Indigenous presence.
32 On View & Upcoming
Discover what’s dazzling galleries this season.
36 Collector’s Corner
Allan Teger’s bold, playful photography sparks fresh perspectives.
From the Director’s Desk
Artistic Creativity Across Media
We believe in showcasing the breadth of human creativity— past, present, and future.
10 color screenprint. Text: letterpress. Paper: white wove paper. Dimensions: Slipcase: 17 3/4 x 18 1/8 x 1 1/8 in. (451 x 460 x 28mm), portfolio: 17 3/4 x 17 1/2 x 1 in. (451 x 445 x 25mm), page: 17 x 17 in. (432 x 432mm). Museum Purchase, 1979.114A-K
On view in Infinite Images (see p. 10)
On July 7, 2018, as the curator of ancient art, I opened an exhibition titled The Berlin Painter and His World: Athenian Vase-Painting in the Early Fifth Century BC. The exhibition was a single-artist show of a remarkable Athenian artist, notable for living through a major evolution in art history that we all now take for granted— the chemical understanding that allowed vase painters to create red rather than black figures. The Berlin Painter lived through this transition and successfully adopted the new technology.
Seven years later, I am thrilled to now serve as the director opening an exhibition that fast forwards the Berlin Painter’s experience 2,500 years. Infinite Images: The Art of Algorithms, this summer’s major exhibition, shows us that while materials may vary, artists across time and culture share a willingness to explore new media and experiment with process, allowing creativity to unfold in sometimes unpredictable ways.
Infinite Images will introduce our audience to generative art: works created in collaboration with algorithms and systems, often shaped by code but not entirely determined by it. In this form of artmaking, artists intentionally cede some control,
Left: Josef Albers (American, 1888-1976), Homage to the Square: Soft EdgeHard Edge, 1965. Original prints:
designing the rules but allowing for outcomes that even the creators could not fully anticipate. The work is visually spellbinding and will expand each visitor’s understanding both of a technology more and more relevant to our daily lives and of the new frontiers of contemporary artistic practice.
Elsewhere in our own galleries, we see how media shift and evolve over time. Glassmakers stretch the limits of molten material. Photographers manipulate chemical reactions. Contemporary artists challenge the boundaries between physical and digital space. Artistic creativity is not confined to any single tool or technique—it thrives across media, cultures, and generations.
The generative artists featured in Infinite Images continue this lineage with 21st-century tools. Some train neural networks on thousands of data points and images to “teach” machines how to generate visual outputs. Others write computer code that acts as an aesthetic seed, blossoming into infinite permutations of line, shape, and form. They are not replacing human creativity— they are reimagining what it can look like.
At the Toledo Museum of Art (TMA), we believe in showcasing the breadth of human creativity—past, present, and future. Generative art, which exists at the intersection of art and technology, raises thoughtprovoking questions about authorship, intention, and interpretation. Who is the artist when a machine plays a role? How does a viewer engage with a work that could have taken thousands of different forms? These are not just technical questions—they are philosophical ones, and they remind us that art has always been about more than objects. It is a dialogue between people, materials, and ideas.
As we look ahead to the reinstallation of our permanent collection, this dialogue becomes even
more relevant. One of our goals is to reimagine the way we present the stories of human creativity. That means breaking down traditional silos and finding new ways to highlight connections—between old and new, global and local, material and digital. Exhibitions like Infinite Images help us do just that. They stretch our definitions of what art can be and invite deeper reflection on how and why we make it.
Art, after all, is not just something to be observed. It is something to be engaged with—emotionally, intellectually, even playfully. That spirit animates all we do at TMA, from the Block Party to our Glass Harvest and from our Collector’s Corner to our Family Center. These activities are done for our community, but they are made possible by you, our members. It is because of you we can present both centuriesold masterpieces and cutting-edge innovations side by side, inviting conversations between past and present to help outline the arc of history.
Thank you for being part of that mission. We hope Infinite Images sparks your curiosity and encourages you to see art, technology, and creativity in a new light.
Best regards,
Adam Levine Edward Drummond and Florence Scott Libbey President, Director, and CEO
On view in Infinite Images (see p. 10)
Above: Anni Albers (American, 1899-1994), Fox I, 1972. Photo offset. H. 14 13/16 in. (37.7 cm): W. 13 3/8 in. (34 cm). Gift of Mr. and Mrs. Sol Weber, Mr. and Mrs. Charles Platt, and Mr. and Mrs. Nicholas Fox Weber in memory of Dr. Daniel Kornblum, 1978.16
Think
Digital Artist Residency
Emily Xie, the Toledo Museum of Art's (TMA) 2025 Digital Artist in Residence, examines textiles with Marissa Stevenson, TMA’s Associate Conservator of Textile Based Collections. Xie will work with TMA through 2025, and her work will be on exhibit in Infinite Images: The Art of Algorithms. See the exhibition before it closes on November 30.
A Modern Masterwork
Celebrating SANAA and the Glass Pavilion
The Royal Institute of British Architects (RIBA) awarded the prestigious 2025 Gold Medal to the Japanese architectural duo SANAA—Kazuyo Sejima and Ryue Nishizawa. Known for their ethereal, light-filled structures, SANAA’s work has reshaped contemporary architecture with a sensitivity to materials, light, and environment. The Toledo Museum of Art (TMA) is proud to count one of SANAA's most iconic projects—the Glass Pavilion—among the museum’s campus landmarks.
Opened in 2006, the Glass Pavilion was SANAA’s first building in North America and quickly became a global architectural touchstone. Its curving glass walls and open-plan design reflect the firm’s minimalist aesthetic and profound understanding of spatial experience. The building houses the museum’s world-renowned glass collection—as well as a hot shop studio—in a structure that is as technically sophisticated as it is cognizant of its surroundings.
Nestled into its park-like setting at a human scale, the Glass Pavilion blurs the boundaries between interior and exterior, creating a porous membrane that invites people into its space. The building invites reflection—literally and figuratively— offering shifting views of its surroundings and a meditative sense of openness. It continues to garner international acclaim not only for its elegant design, but also for how seamlessly it complements the museum’s mission to integrate art into people’s lives.
With SANAA’s RIBA Gold Medal win, TMA joins the global celebration of a visionary firm whose work, like the Glass Pavilion itself, continues to illuminate the possibilities of architecture.
Step into a world where code becomes canvas, algorithms act as brushstrokes, and creativity is not bound by human hands alone. The Toledo Museum of Art’s (TMA) newest exhibition Infinite Images: The Art of Algorithms invites visitors to discover the compelling story of generative art—a form of artistic creation that harnesses systems, rules, and digital tools to produce unexpected and often breathtaking results.
Above:
Casey REAS (American, born 1972), Earthly Delights 3.2, 2024. Generative software. Private collection. Photo courtesy of the artist.
Curated by Julia Kaganskiy with loans from the Alan Howard Collection, the Kanbas Collection and from TMA’s own holdings, this dynamic exhibition spans six decades and features 24 pioneering and contemporary artists who have shaped the Generative Art movement. From early analog systems to today’s AI-powered experiments, Infinite Images traces how artists have collaborated with machines to redefine what art can be.
“Today’s hype around generative AI has led a lot of people to think the artist is being replaced by the computer,” Kaganskiy said. “But artists have long been working with generative systems to explore how automation can be a creative tool and how complexity emerges from even simple constraints. Infinite Images highlights the creative intention and conceptual rigor that sits at the heart of this art form.”
Kaganskiy is an independent curator based in New York City who has worked at the intersection of art and technology for more than 15 years. She was the founding director of NEW INC at the New Museum—the first museum-led incubator
for art, design, and technology—and has curated exhibitions for leading institutions in Europe and the US, including HEK in Basel, LAS Art Foundation in Berlin, and Eyebeam in New York City.
Rather than focusing on a single finished product, generative artists design processes— rule-based systems that exist as instructions or computer code—that yield an endless variety of visual outcomes. This means every work is part of a larger creative ecosystem. It’s a practice rooted in experimentation, shaped by technology, and fueled by a deep curiosity about how systems, nature, and even randomness can shape aesthetic experience.
“There’s a profound sense of play and experimentation in these works,” said Kaganskiy. “But they’re also asking deep questions about authorship, automation, and what it means to be creative in a technological age.”
The physical design of the exhibition, a space where form and function merge seamlessly, was created by TheGreenEyl, an acclaimed studio based in Berlin and New York. Known for their innovative
approach, the studio’s layered, contemporary design transforms complex ideas into engaging experiences, encouraging visitors to connect with art that may seem unfamiliar but resonates with universal themes of curiosity and invention.
The exhibition unfolds across four immersive sections:
The Imaginary Machine
“The Imaginary Machine” introduces the trailblazing work of Vera Molnár (Hungarian, 1924-2023), a pioneer of digital art who imagined algorithmic processes long before she ever touched a computer but whose work leveraged the technology as soon as it became available. Her Des(Ordres) series and grid-based drawings made with a custom computer program reveal the roots of generative thinking. This section also highlights connections to other mid-century artists who all worked within strict visual rules to explore endless variation. These visionaries include Anni Albers (American, 1899-1994), Josef Albers (American, 1888-1976), Max Bill (Swiss, 19081994), and Sol LeWitt (American, 1928-2007).
Chance and Control
“Chance and Control” dives into how artists use randomness—often thought of as the enemy of control—to embrace surprise and subvert predictability. These works demonstrate how a tension between deliberate programming and unexpected results can yield dynamic, poetic imagery. In this section of the exhibition, a plotting machine will produce a selection of 10 Autoglyphs by Larva Labs (founded in 2005). The plotter functions as a printer, using pens, ink, and instructions written in code to render digital images in physical form. Once the drawings are complete, they’ll be mounted on the wall and then given away to TMA members (available on a first-come, first-served basis).
Right:
Tyler Hobbs (American, born 1987), Fidenza #545, 2021. On-chain algorithm, NFT, and Ethereum blockchain. Private collection. Photo courtesy of the artist.
About the Curator
Julia Kaganskiy
Julia Kaganskiy is an independent curator based in New York City with more than 15 years of experience working at the intersection of art, technology, and culture.
Kaganskiy was the founding director of NEW INC, the New Museum’s incubator for art, design, and technology—the first program of its kind at a major museum. Her curatorial projects have been presented at leading institutions around the world, including HEK (Basel), LAS Art Foundation (Berlin), Matadero Madrid, Borusan Contemporary (Istanbul), Science Gallery (Dublin), 180 The Strand (London), and Eyebeam (New York City). Kaganskiy is widely recognized for championing experimental artists who use digital tools to ask provocative questions about our technological future.
Tips for Exploring Infinite Images: The Art of Algorithms
Find the system behind the art
Generative artists don’t just create images—they build systems. Ask yourself:
What patterns do you see? Is there a logic or grid behind the design? What variations do you see?
Based on these patterns what kind of instructions or rules might the artist have used?
Engage interactively
Some works respond to your movement or invite you to participate.
If the piece is interactive, try it! Change the parameters and see what happens.
Can you spot how your input affected the outcome of the visuals or audio?
Look for patterns and nature
Generative art often mimics organic systems—think branches, cells, waves, or clouds.
What natural forms do you recognize?
· How does code recreate nature—or reimagine it?
Ask questions
This is a great show to visit with a friend or an ideal opportunity to talk with an Ask Me Docent. Remember, there is no right answer! Try:
What do you think the algorithm was?
Could a human have made this by hand?
Does knowing it was made with code change how you see it?
Think like a collaborator
Generative art is about co-creation—with machines, code, randomness, even you.
· What role does the computer play?
What role does the artist have?
What role do you, the viewer, take on?
Visit more than once
Many of these artworks are time-based or interactive, and they’ll change every time you come back. There’s always something new to see.
“This is an exhibition that highlights how generative systems allow for variability, iteration, and experimentation that opens the door to new ways of seeing.”
Julia Kaganskiy Independent Curator
Digital Materiality
“Digital Materiality” explores the tangible quality of pixels, code, and software. Far from being cold or mechanical, these works feel lush, animated, and richly textural.
“It highlights the versatility and malleability of code,” said Kaganskiy. “You’ll see artists using digital media to simulate real-world materials—or to create entirely new ones.”
Coded Nature
“Coded Nature” closes the exhibition with works that mirror and reinterpret natural processes. Generative algorithms are inspired by everything from plant growth to cloud formation. Through these pieces, visitors are invited to reimagine the digital world not as a sterile space, but one that pulses with organic energy.
Throughout the exhibition, interactive experiences allow visitors to become part of the art. In Glitchbox, for instance, artist 0xDEAFBEEF draws on his background in blacksmithing and software engineering to let guests tweak dials and buttons, generating ever-changing sound and visuals. Visitors can “cut up” and re-order
works from the series Century by Casey REAS, creating their own compositions to share on large screens in the exhibition gallery.
“This is an exhibition that highlights how generative systems allow for variability, iteration, and experimentation that opens the door to new ways of seeing,” Kaganskiy said. “Whether you’re a lifelong art lover or stepping into this space for the first time, Infinite Images hopes to offer a deeper understanding of the craft behind digital art and the breadth of work that can be created with code.”
The exhibition will be on view from July 12 through November 30, 2025, in Canaday Gallery and Galleries 5 and 9. Exhibition tickets cost $10 per visitor and are free to TMA members. Admission to the museum and parking are always free.
With loans from the Alan Howard Collection, complemented by works from the Kanbas Collection and the Toledo Museum of Art, Infinite Images: The Art of Algorithms is made possible by Presenting Sponsors Susan and Tom Palmer, Season Sponsors Taylor Automotive Family and Silver Sponsors Dana and Blackdove, with additional support from the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.
Left:
0xDEAFBEEF (Canadian, born 1981), Series #0—Synth Poems—Token #6, 2021. Custom audiovisual software, NFT, and Ethereum blockchain. Private collection.
Photo courtesy of artist.
The exhibition features artworks by:
0xDEAFBEEF (Canadian, born 1981)
Anni Albers (American, born in Germany, 1899–1994)
Josef Albers (American, born in Germany, 1888–1976)
Max Bill (Swiss, 1908–1994)
Dmitri Cherniak (Canadian, born 1988)
Entangled Others — Feileacan Kirkbride McCormick (Norwegian, born 1987) and Sofia Crespo (Argentinian, born 1991)
Tyler Hobbs (American, born 1987)
Larva Labs — Matt Hall (Canadian, born 1974) and John Watkinson (Canadian, born 1975)
Sol LeWitt (American, 1928–2007)
Zachary Lieberman (American, born 1977)
LoVid — Tali Hinkis (Israeli, born 1974) and Kyle Lapidus (American, born 1975)
William Mapan (French, born 1988)
Sarah Meyohas (American, born 1991)
Vera Molnár (Hungarian, 1924–2023)
Operator — Ania Catherine (American, born 1990) and Dejha Ti (American, born 1985)
Quayola (Italian, born 1982)
Casey REAS (American, born 1972)
· Anna Ridler (English, born 1985)
Monica Rizzolli (Brazilian, born 1981)
Snowfro — Erick Calderon (Mexican, born 1981)
Sam Spratt (American, born 1988)
Jared Tarbell (American, born 1973)
Emily Xie (American, born in China, 1989)
Investing in Access, Inspiring Innovation
Mike Thaman champions technology as a tool for engagement
Mike Thaman’s connection to the Toledo Museum of Art (TMA) spans decades. As a father, he toured the galleries with his family and saw the museum foster a sense of curiosity and appreciation in his children. Today, his role with the museum has expanded considerably: Thaman recently was elected Chair of the TMA Board of Trustees.
“I’ve watched the museum evolve while staying rooted in its founding ideals,” Thaman said. “It’s a privilege to help guide its next chapter.”
Thaman brings to the role an impressive record of leadership. He is the former Chair and CEO of Owens Corning, where he spent more than two decades shaping one of the world’s leading materials companies. He currently serves on the boards of several major corporations, including Kohler and Sherwin-Williams. His strategic vision and deep understanding of innovation are assets he now brings to TMA.
One area where his impact is already being felt is in the museum’s embrace of technology. Thaman recently made a significant gift to support digital infrastructure at TMA—not for technology’s sake alone, but because he shares the museum’s belief that the right tools can expand access and engagement.
“I see technology as a bridge,” he explained. “It can be a critical component in achieving the museum’s mission to integrate art into the lives of people.”
His hope, he says, is that this gift encourages others to think about how they can support the museum’s efforts to reach new audiences and create more meaningful experiences for all.
As Board Chair, Thaman is focused on advancing TMA’s mission with clarity and purpose. “The museum is a place where the past and future of art converge,” he said. “I’m proud to be part of the team working to build an exciting future for this storied institution.”
Right: Jaume Plensa (Spanish, born 1955), Paula, 2013. Cast iron. 276 3/4 × 39 × 122 1/16 in. (703 × 99 × 310 cm). Purchased with funds given in memory of Frank Snug by his family, from Margy and Scott Trumbull, and from Tom and Betsy Brady, and purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 2017.11
Discover
Rainbow Flag, 2013
Toledo Museum of Art conservators work to preserve Rainbow Flag (2013), which was on exhibit at the museum in June as part of its “Pride with Purpose” celebration. The original flag’s designer, Gilbert Baker (American, 1951-2017), designed the rainbow flag in the 1970s as a universal symbol for the gay community. Baker created Rainbow Flag with the same techniques and materials as the first iteration to commemorate the original design.
Creative Sparks
Inside the TMA Family Center
Jennifer McCary
Chief Culture and Brand
Experience Officer
Moderator and Guest Writer
Now open an additional day each week (see p. 25), the Toledo Museum of Art (TMA) Family Center has been a free community resource where families gather to make art, explore galleries, and form meaningful memories since 1996. In a recent conversation with Regina Jankowski, Amy Sweeney, and Grace Toth, we learned more about what makes this space so special.
Regina Jankowski
Family Center Manager
Panelist
Amy Sweeney
Family Center Assistant
Panelist
Grace Toth
Emily Leah Bippus
Director of Education
Panelist
Jennifer What makes the Family Center at TMA unique?
Regina One thing that immediately stands out to me is that not every museum has a space where you can not only look at art in the galleries, but you can also come down and create a work of art inspired by what you’ve seen in the galleries. Our space is also unique because you don’t have to be a member to visit the Family Center. It’s accessible, inclusive, and welcoming to all.
Amy It’s our community that makes it unique too. People from other countries even visit and tell us how they don’t have something like this at home.
Grace It’s also a space where I feel comfortable coming in and creating art alongside my daughter, and that’s really special.
“This space was created to welcome people to the museum, and it has become the heartbeat of it.”
Amy Sweeney Family Center Assistant
Regina Visiting the Family Center doesn’t mean a whole family has to come. It could be a parent and child, or an adult and child. It’s a welcoming space where adults can forget about everything else for a moment and just create.
Amy The surprising part is how many people are still just discovering it. Each day someone comes in who didn’t even know it existed. But the most unique thing about the Family Center is… Amy didn’t finish; she just nodded in appreciation toward Regina as we all laughed because Regina was the only one who didn’t realize that Amy was referring to her. Regina has been at the museum for 24 years and is undoubtedly one of the reasons why so many people return. After we clued Regina into the non-verbal exchange the rest of us had, she replied.
Regina I do love what I do. The incredible thing is, whether it’s somebody who we know and recognize, someone touring who’s a major donor, or just a new person stepping in for the first time, they all make this the best job I’ve ever had. This opportunity blends all the things I love, and I cannot do this by myself. We have a wonderful team.
Jennifer Do we know anything about how the Family Center came to be?
Regina The Family Center began in 1996 with Claire Schaefer, a mentor and friend who still volunteers with us today. Claire designed an inclusive, inviting, and interactive space focused on early childhood arts education—a place for the community to come together to make art and
explore all that the museum has to offer. She deeply understood the vital role art plays in a young child’s development, and we continue to honor her vision every day. I often say that the Family Center may be the very first opportunity for a family with young children to step into a museum.
Amy It starts the lifecycle of visiting TMA. This space was created to welcome people to the museum, and it has become the heartbeat of it.
Claire Schaefer (front row, third from the left) with children visiting the TMA Family Center.
As smiling eyes look on, a focused child explores in the TMA Family Center with glue, puzzle pieces, and cut paper.
Jennifer How do you come up with your weekly art-making themes?
Regina We offer a weekly prompt connected to a work of art or exhibition, but visitors also have the freedom to create whatever they want. We plan by looking at what exhibitions are coming up or currently on view compared to what materials we have. We always relate the theme to a work of art.
Amy Sometimes it’s based on what we have in stock and other times a visitor inspires us.
Grace I remember a visitor came up with the idea of kindness jars. That idea turned into a theme for all to enjoy. It was so popular, we even used it as a staff activity.
Jennifer What role does the museum’s collection play in shaping the activities?
Regina We explore the galleries to get inspired. We might say we have a lot of paper towel tubes. What could connect to that in the collection?
Other times, we focus on the pieces inspiring us before identifying the material, such as using clay when our focus is on the sculpture garden. We also try to introduce new artmaking materials that families might not ordinarily have at home to give them a unique experience.
Amy When preschools visit, we ask what they’re learning and tailor our art and gallery experience to that theme.
Jennifer How do you create a space that’s welcoming for kids of all ages and their grownups?
Amy We keep it old-school—hands-on.
Regina We may give a visitor an idea and they can choose to run with it. There’s freedom to create and make a mess. Then it’s our job to clean up!
Grace I love the way our staff helps kids solve problems. If the material isn’t out, we run in the back to find what they need. We have a “kitchen sink” of art supplies.
“It’s the sort of place where the only time people are sad or cry is when they must leave. Many families tell us that the Family Center is their happy place!”
Regina Jankowski Family Center Manager
Amy We see people with disabilities who find joy here. Once, we witnessed a non-verbal adult speak her first word in the Family Center. She told me the color, and her counselor was amazed!
Regina We call it the Family Center because everyone is welcome to create. Adults often get so immersed that they don’t notice when their child has wandered off to start another project or paint at the easels!
Jennifer Can you share a favorite moment from your time working in the Family Center?
Amy I once asked a child about their art, and they said, “It’s a masterpiece.”
Grace I had a former preschool student return 18 years later to invite me and Regina to her high school graduation. That was incredibly meaningful.
Regina We often don’t realize the impact we have until someone comes back and tells us. It’s the sort of place where the only time people are sad or cry is when they must leave. Many families tell us that the Family Center is their happy place!
Jennifer What do you hope families take away from their time here?
Regina A warm and welcoming memory. A moment of joy. Something they can carry with them for years. I also hope that they may return to discover all the museum offers.
Even the staff’s personal journeys reflect the Family Center’s magic. Grace began as a preschool teacher bringing children to visit before joining the museum as a member of the Family Center staff. She has since been promoted several times. Amy took her first art class in the same room the Family Center is in when she was 6 years old. She returned years later to continue the legacy by joining the team. Regina started in 2001 and has become an institutional icon with a “Regina Day” named after her in the museum.
Like our team, as families return again and again, the Family Center becomes part of their story.
Regina It’s a safe space, a joyful space. Sometimes we don’t realize the impact until someone comes back to tell us this place helped them through something difficult. The power that art has is profound!
The Family Center adds Thursdays to its weekly hours
Whetherit’s a child discovering the magic of paint or a parent rediscovering their creativity, the Family Center continues to be one of TMA’s most meaningful spaces. Beginning this summer, families have even more opportunities to experience it: the Family Center is now open Thursdays from 11 a.m. to 5 p.m., in addition to Wednesdays, Fridays, and Saturdays from 11 a.m. to 5 p.m.
Last year, 11,994 children and 9,204 adults visited the Family Center. While the numbers reflect its popularity, nothing captures its impact like the stories, smiles, and art created within its walls.
Now open four days a week, the Family Center offers even more time to create, connect, and grow.
Whether a parent and child, a caregiver and toddler, or multiple generations together, the Family Center welcomes every version of family. It’s often the first stop for many museum goers—breaking down barriers and introducing them to the joy of artmaking in a welcoming, hands-on environment.
As the Family Center expands its hours, it also expands its reach—offering even more moments of creativity, connection, and joy. It continues to be the museum’s heartbeat: a place to create, belong, and grow together.
Art on the Move
See where our collection is traveling around the world. As we reinstall our galleries, we have the opportunity to share our beloved artworks with audiences across the globe.
Impressionism to Abstraction
Impressionism to Abstraction: Early 20th Century Art from the Toledo Museum of Art (TMA) offers a sweeping survey of the visionary painters who transformed modern art. The exhibition includes 57 iconic works from the TMA collection by 53 artists, including Paul Gauguin, Vincent van Gogh, and Piet Mondrian. These masterworks will return to Toledo in time for the opening of the reinstalled museum in 2027.
Where to next?
Auckland Art Gallery, Auckland, New Zealand
June 6–September 26, 2025
Linea D’ombra, Treviso, Italy
November 15, 2025–May 10, 2026
Art Gallery of South Australia, Adelaide, Australia
July 11–November 8, 2026
1. Paul Gauguin (French, 1848-1903), Street in Tahiti, 1891. Oil on canvas. Painting: 45 1/2 × 34 7/8 in. (115.6 × 88.6 cm), Frame: 57 1/2 × 45 3/4 × 5 1/2 in. (146.1 × 116.2 × 14 cm). Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 1939.82
2. Vincent van Gogh (Dutch, 1853-1890), Wheat Fields with Reaper, Auvers, 1890. Oil on canvas. Painting: 29 × 36 5/8 in. (73.6 × 93 cm), Frame: 38 3/4 × 46 1/2 × 5 in. (98.4 × 118.1 × 12.7 cm). Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 1935.4
3. Piet Mondrian (Dutch, 1872-1944), Composition with Red, Blue, Yellow, Black, and Gray, 1922. Oil on canvas. Painting: 16 1/2 × 19 1/8 in. (41.9 × 48.6 cm), Frame: 17 1/2 × 19 1/2 × 2 in. (44.5 × 49.5 × 5.1 cm). Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 1978.44
A Closer Look
Not a Memory or a History
Guest Writer
Willow Gritzmaker, Curatorial Research Associate of American Art
Cherokee
artist Kay WalkingStick has long worked with two of the most important types of painting in American art: landscape and abstraction. Historical movements like the Hudson River School and the modern rise of Abstract Expressionism both influence WalkingStick’s canvases. Her paintings present us with images that are both familiar and totally different from what we may have seen before.
Seal Rock Storm (2023) joined the Toledo Museum of Art’s (TMA) collection last year and shows how WalkingStick combines these distinct forms of painting. Here, she painted the crashing waves on the rocky shores of Aquidneck, Rhode Island, and a stormy sky overhead. But she wasn’t aiming to mimic a photographic window to a faraway scene—the bottom right corner holds a repeating, geometric pattern that creates a screen between us and the seascape. This pattern belongs to the basketwork of Pequot peoples. WalkingStick adds this abstraction to the landscape to remind us that the Connecticut and Rhode Island coasts are inseparable from the Pequot.
Below:
48
Picking tribe-specific patterns and matching them to lands belonging to those tribes lets WalkingStick create works she says are about the present, not the distant past: “Indian people are here right now, living on this land, and that is the subject of these landscapes.”
How could a work like Seal Rock Storm change how you see 19th-century seascapes or landscapes, like Winslow Homer’s Sunlight on the Coast (1890)? How could it change the way you see the land you live, work, and play on every day?
Left:
Kay WalkingStick (Cherokee, born 1935, Syracuse, New York), Seal Rock Storm, 2023. Oil on panel in two parts. 40 × 80 in. (101.6 × 203.2 cm). Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 2024.4
Winslow Homer (American, 1836-1910), Sunlight on the Coast, 1890. Oil on canvas. 30 1/4 ×
1/2 in. (76.8 × 123.2 cm). Gift of Edward Drummond Libbey, 1912.507
Experience
The Willing, 2025
The Libbey Court was transformed into a space of reflection and resilience during The Willing, a one-time live performance by Helina Metaferia. Through movement, song, and spoken word, her performance activated Crown (Taytu) (2023) and shared stories of familial, artistic, and political ancestors. The Toledo Museum of Art invited museum guests to be part of the filming experience and follow Metaferia along during her live performance.
On View & Upcoming
Radiance and Reverie: Jewels from the Collection of Neil Lane
On view October 18, 2025–January 18, 2026
Glass Pavilion, Galleries 5 and 6
With a glittering blend of craftsmanship and celebrity style, more than 150 pieces from Neil Lane’s extraordinary private collection will be on public display for the first time ever.
Best known as a designer to the stars (and for his sparkling appearances on The Bachelor), Lane has spent decades building one of the most significant jewelry collections in the country. From Art Deco masterpieces to jewels worn by Hollywood legends like Joan Crawford and Mae West, the exhibition is a feast for lovers of art, fashion, and history.
Expect more than just sparkle—this immersive exhibition includes rare jewelry, fashion, red carpet footage, and photographs. The works are organized into three sections reflecting the most important places in Lane’s collecting journey: Paris, New York, and Hollywood.
Exhibtion tickets cost $10 per visitor and are free to TMA members. Admission and parking at the museum are always free.
Radiance and Reverie: Jewels from the Collection of Neil Lane is made possible through the generous support of National Presenting Sponsor Kay Jewelers. Additional funding is provided by the Toledo Museum of Art’s Presenting Sponsors, Susan and Tom Palmer; Season Sponsor, the Taylor Automotive Family; Platinum Sponsor, Sotheby’s; Silver Sponsor, the Toledo Museum of Art Ambassadors; and the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.
Photograph: THAT UNCERTAIN FEELING, from left, Burgess Meredith, Merle Oberon, Melvyn Douglas, 1941
On View & Upcoming
Infinite Images: The Art of Algorithms
On view through November 30, 2025
Edward B. Green Building, Canaday Gallery, Gallery 5, Gallery 9
Infinite Images: The Art of Algorithms explores the foundations of generative art, from early pioneers like Vera Molnár to contemporary artists working with algorithmic systems. Featuring digital and physical works, interactive experiences, and largescale installations, the exhibition reveals how artists collaborate with technology to challenge ideas of creativity, authorship, and automation.
Amy Beeler: Domestic Lines, Quiet Rituals
On view through October 10, 2025
Edward B. Green Building, Robert C. and Susan Savage Community Gallery
Rooted in home rituals, this exhibition transforms domestic practices into sculptural forms that explore identity, memory, and intergenerational connection. Evoking backyard spaces and shared labor, the work honors inherited traditions while acknowledging change, offering a sensory meditation on loss, resilience, and the quiet power of everyday life.
10th Annual Block Party
September 13, 2025, 3 p.m.–8 p.m.
Georgia and David K. Welles Sculpture Garden and Glass Pavilion Grounds
Join us at the TMA campus for this year’s Block Party, a vibrant celebration of art, culture, and community. This free event is open to all and features live performances, local food trucks, artistic demonstrations, and interactive art-making activities.
5th Annual Glass Harvest
September 27–28, 2025, 11 a.m.–5 p.m.
Rita B. Kern Sensory Garden
Visit our pumpkin patch this fall and take your pick from a spectacular collection of over 300 beautiful glass pumpkins in all colors, shapes, and sizes. Every piece is hand blown by our team of studio artists in the Glass Pavilion. With new pieces added throughout the weekend, there’s something special to discover each day!
From the Sanda Findley Collector’s Corner
Allan Teger
For artist Allan Teger, photography has always been more than a visual art form. It’s a way to explore consciousness, psychology, and the nature of reality. With a camera gifted to him on his 13th birthday, Teger began chronicling family moments and became his school’s photographer. Though he pursued psychology professionally, teaching for years at the university level, photography remained a constant companion, eventually merging with his academic interests in profound ways.
Counterpoint is Teger’s most recent body of work, now featured in the Sanda Findley Collector’s Corner. These metal print photographs juxtapose seemingly unrelated objects—hard surfaces and delicate florals, rusty metals and vibrant fruits, a fleshy leaf pierced by needle and thread—creating striking visual contrasts. With bold colors, intense tension, and a luminous surface, these works draw viewers into blissful contemplation. Available in-store and online, these works are sure to be showstoppers in any new or established collection.
Now based in Florida, Teger continues to teach and exhibit. Whether through playful illusions or meditative stillness, his art asks viewers to see more deeply and to contemplate the invisible threads connecting us all.
Temporary Relocation
As part of the museum’s preparations for gallery reinstallations, the TMA Store and Sanda Findley Collector’s Corner have temporarily relocated to Gallery 3 in the Green Building. You’ll still find the same curated selection of TMA merchandise, books, and exhibition-inspired gifts—plus a wide range of original artwork by local artists. Shop online at store.toledomuseum.org
Allan Teger, Red Thread, metal print photography. 24 × 32 in.
Join TMA today Experience the Toledo Museum of Art like never before with exclusive member benefits, including access to dynamic programs, captivating exhibitions, behind-the-scenes insights, and valuable discounts. Learn more and become a member at toledomuseum.org/membership.
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Toledo, Ohio USA 43697
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An exterior view of a curving wall in the Toledo Museum of Art’s Glass Pavilion, designed by 2025 RIBA Gold Medal award-winning Japanese architectural duo SANAA.
