Marian Zazeela, La Monte Young, Jung Hee Choi, “Leeum 26 IV 29 Seoul Dream House: Sound and Light Environment.” Site-specific Installation, 2026. Sound, fresnel lights, aluminum, wood, white carpet, colored light filters, video projections, neon. Dimensions variable © Cheolki Hong.

At a moment when museums around the world are reexamining whose stories shape contemporary art history, Leeum Museum of Art in Seoul is spotlighting the women artists who helped pioneer immersive installation decades before the medium entered the mainstream canon. Inside Other Spaces: Environments by Women Artists 1956–1976 revisits a radical era in postwar art through sensory environments that dissolve the boundaries between artwork, architecture, and viewer participation.

Organized in collaboration with Munich’s Haus der Kunst, where the exhibition first debuted in 2023, the Seoul presentation expands the original project with additional works by Korean and Asian artists. Running through November 29, 2026, the show gathers reconstructed environments created between 1956 and 1976 by women artists across Europe, Asia, and the Americas, many of whom reshaped experimental art while remaining overlooked in traditional art historical narratives.

Rather than asking visitors to simply observe, the exhibition invites them to physically enter the works. Long before “installation art” became institutional language, artists used the term environment to describe immersive spaces activated through light, sound, movement, texture, and atmosphere. The exhibition traces how these experimental works emerged during the postwar decades as artists rejected the static conventions of painting and sculpture.

Among the featured artists are Brazilian Neo-Concrete pioneer Lygia Clark, Argentine conceptual artist Marta Minujín, Italian artist Nanda Vigo, and Japanese Gutai member Tsuruko Yamazaki, whose 1956 work Red is the earliest environment included in the show. Visitors move through installations composed of mirrors, translucent materials, sound frequencies, air currents, and tactile surfaces that transform the body into an active part of the artwork itself.

The exhibition also places important focus on Korean avant-garde artists, including Jung Kangja’s Muche-Jeon (Incorporeal Exhibition), an experimental work incorporating light, sound, and sensory interaction. By placing Korean practices alongside international movements, Leeum reframes immersive art history as a global conversation rather than a Western-centered narrative.

What makes the show especially compelling is its emphasis on reconstruction and archival recovery. Many of the original environments were temporary or poorly documented, requiring curators to rebuild the works through photographs, sketches, letters, and historical records. The result feels less like a conventional exhibition and more like an act of restoration, recovering a lineage of experimental practices that history often sidelined.

At a time when immersive exhibitions dominate contemporary museums and digital culture alike, Inside Other Spaces offers a deeper historical perspective on participation and sensory experience in art. More importantly, it restores visibility to the women artists whose radical experiments helped shape the immersive language contemporary audiences now take for granted.

Leeum Museum of Art’s new exhibition revisits the immersive environments women artists created between the 1950s and 1970s, long before installation art became a global phenomenon.

Tsuruko Yamazaki, “Red.” Outdoor Gutai Art Exhibition, Ashiya Park, Ashiya, Japan, 1956. Bolts, light bulbs, metal fixtures, vinyl, wires, wood. 270 × 360 x 360 cm. Reconstruction National Museum of Art, Osaka, 1985. Loan from the Estate of Tsuruko Yamazaki, courtesy of LADS Gallery, Osaka and Take Ninagawa, Tokyo, Japan © Cheolki Hong.

Jung Kangja, “Muche-Jeon (Incorporeal Exhibition).” National Public Information Center, Seoul, Republic of Korea, 1970. Artificial leather, low fog machine, colored lights, moving lights, spotlights, light bulbs, loudspeakers, artist’s voice. 500 × 500 × 500 cm. Reconstruction Leeum Museum of Art, Seoul, 2026. © Cheolki Hong.

Lygia Clark, “A casa é o corpo. Penetração, ovulação, germinação, expulsão.” Museu de Arte Moderna do Rio de Janeiro, Brasil, 1968. Aluminum, balloons, balls, deforming mirror, elastic fabrics, foam, metal, PVC, wood, yarn. 332 × 720 x 226 cm. Reconstruction Haus der Kunst München, 2023 © Cheolki Hong.

Marta Minujín. “¡Revuelquese y viva!” Instituto Torcuato Di Tella, Buenos Aires, Argentina, 1964. Hand-painted fabric, loudspeakers, nails, sound, synthetic foam, wires, wood ca. 270 × 245 × 335 cm. Replica Haus der Kunst München, 2023 © Cheolki Hong.

Visitors move through reconstructed spaces filled with light, mirrors, sound, texture, and movement that transform the viewer into part of the artwork itself.

Judy Chicago, “Feather Room.” Rolf Nelson Gallery, Los Angeles, United States, 1966. Aluminum, cruelty -free goose feathers and down, fabric, LED lights. 400 × 684 × 770 cm. Replica Haus der Kunst München, 2023 © Cheolki Hong.

Tania Mouraud, “We used to know.” Centro Apollinaire, Milan, Italy, 1970. 500w floodlamps, glass doors, loudspeakers, rubber, sound, stainless steel, tripods, wires, wood. 381 × 515 × 422.5 cm. Replica Haus der Kunst München, 2023 © Cheolki Hong.

Nanda Vigo, “Ambiente cronotopico vivibile” Galleria Apollinaire, Milan, Italy, 1967. Aluminum, neon crystal tubes, patterned industrial glass, Plexiglas, switches, wood. 200 × 300 × 300 cm. Reconstruction Haus der Kunst München, 2023 © Cheolki Hong.

Aleksandra Kasuba, “Spectral Passage.” M. H. de Young Memorial Museum, San Francisco, United States, 1975. Cables, loudspeakers, neon tubes, nylon fabric, Plexiglas, ropes, rug, sound, wood. 550 × 1390 x 2920 cm. Reconstruction Haus der Kunst München, 2023 © Cheolki Hong.

Laura Grisi, “Vento di Sud-Est (Wind Speed 40 knots).” Galeria La Tartaruga, Rome, Italy, 1968. Wind machines, wood. 273 × 728 × 566 cm. Reconstruction Haus der Kunst München, 2023 © Cheolki Hong.

By recovering these experimental works through archival reconstruction, the exhibition restores visibility to the women artists who helped shape the future of immersive contemporary art.

Installation view of Inside Other Spaces: Environments by Women Artists 1956-1976. Leeum Museum of Art, 2026 Photo: Cheolki Hong.

Lea Lublin, “Penetración/Expulsión (del Fluvio Subtunal).” Il Bienal de Arte Coltejer, Medellin, Colombia, 1970. Foam, hooks, painted and unpainted t-shirts, pipes, TPU, radial compressor, valves, water, wood. 200 × 2000 cm (Penetración/Expulsión), 275 × 275 × 275 cm (Phalus Mobilis). Reconsturction Haus der Kunst München, 2023 © Cheolki Hong.

The exhibition brings together pioneering artists from Brazil, Japan, Argentina, Italy, and Korea, revealing how women across the world were simultaneously redefining art as a physical, immersive experience.

Installation view of Inside Other Spaces: Environments by Women Artists 1956-1976 Leeum Museum of Art, 2026. Photo: Cheolki Hong.

Marian Zazeela, La Monte Young, Jung Hee Choi, “Leeum 26 IV 29 Seoul Dream House: Sound and Light Environment.” Site-specific Installation, 2026. Sound, fresnel lights, aluminum, wood, white carpet, colored light filters, video projections, neon. Dimensions variable © Cheolki Hong.

Installation view of Inside Other Spaces: Environments by Women Artists 1956-1976. Leeum Museum of Art, 2026. Photo: Cheolki Hong.

Exhibition Information:
Inside Other Spaces: Environments by Women Artists 1956–1976
May 5–November 29, 2026
Leeum Museum of Art
60-16 Itaewon-ro 55-gil, Yongsan-gu, Seoul, South Korea

Leeum Museum of Art: Website | Instagram

My Modern Met granted permission to feature photos by Leeum Museum of Art. 

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READ: New Exhibition Explores Immersive Art Created by Women Artists in the 1960s and 1970s

Installation view of the Laila Gohar x Arket carousel, showcased during this year’s Milan Design Week. (Courtesy Arket)

Late last month, thousands descended upon Milan for the city’s 2026 Design Week. Among the throng of designers, artists, brands, and collectors were Leila Gohar and Arket—there not just as attendees, but as exhibitors. On April 20, 2026, the New York–based artist and Nordic lifestyle brand unveiled an unexpected collaboration: a repurposed 18th-century carousel.

The carousel, which originates from Wiesbaden, Germany, dates back to the late 1700s and features intricately painted scenes, floral illustrations, and soft fairground lights. While reimagining the structure for Arket, Gohar left many of these antique details untouched, focusing instead on the carousel’s seating. It should perhaps come as no surprise that Gohar, with her specialization in food art, veered toward fruit and vegetables as motifs, transforming traditional carriages into oversized eggplants, pears, and radishes.

Nestled in Milan’s historic Giardino delle Arti, Gohar and Artek’s carousel kicked off Design Week with a remarkable sense of play and surrealism. The fruit and veggie seats betray Gohar’s keen eye for theatricality, a quality that defines much of her work and has arguably fueled her rise to prominence. Throughout her career, the Egyptian American artist has strained against the limits of food, producing everything from a chair-shaped cake for Sotheby’s and little dolls constructed from sausages, to a decadent shrimp tower and a bed stitched together with bread. By 2022, the New Yorker had even dubbed her the “Björk of food”—a fitting title, considering her level of innovation and creativity.

Gohar’s collaboration with Artek is no exception, of course. But what distinguishes the carousel from other projects is its insistence on encounters. Here, German woodworking traditions confront Gohar’s sculptural sensibilities, which, in their simplicity and realism, complement the carousel’s existing architecture, despite their whimsy. As viewers, we are also invited to engage with the carousel, tracing the movement of each fruit and vegetable as they continuously turn. In these ways, the installation rejects a static model of art, preferring participation and repeated viewings from multiple angles.

This is exactly how Gohar herself understands the work. “We wanted to create something open and inclusive—something that invites people in, rather than asks them to observe from a distance,” she explains. “A carousel felt like a natural way to do that. It’s familiar, physical, and meant to be shared. I’ve always been drawn to the idea of beauty as something accessible in the everyday, often shaped by surprise and excitement, which made this collaboration feel very natural.”

The carousel is part of a larger collaboration with Artek, which launched Gohar’s ready-to-wear debut on April 21. The collection spans 27 pieces, ranging from a smock blouse inspired by women’s uniforms to a modular dress with a detachable skirt. Taken together, the garments reflect Gohar’s command over tactile yet surreal surfaces, combining opposites like masculinity and femininity or softness and stiffness to fascinating effect.

“I don’t really differentiate between everyday clothing and special occasion clothing. Every day is a special day,” Gohar says of the collection. “Working with Arket was about translating that attitude into clothing.”

To learn more about Leila Gohar’s collaboration with Arket, visit the brand’s website.

During this year’s Milan Design Week, Leila Gohar and Arket collaborated to reimagine an antique carousel from the 18th century, transforming it into a site of play, whimsy, and interactivity.

Installation view of the Laila Gohar x Arket carousel, showcased during this year’s Milan Design Week. (Courtesy Arket)

Installation view of the Laila Gohar x Arket carousel, showcased during this year’s Milan Design Week. (Courtesy Arket)

Installation view of the Laila Gohar x Arket carousel, showcased during this year’s Milan Design Week. (Courtesy Arket)

An eggplant seat, part of the carousel produced for the Laila Gohar x Arket collaboration. (Courtesy Arket)

A pear seat, part of the carousel produced for the Laila Gohar x Arket collaboration. (Courtesy Arket)

An onion seat, part of the carousel produced for the Laila Gohar x Arket collaboration. (Courtesy Arket)

Installation view of the Laila Gohar x Arket carousel, showcased during this year’s Milan Design Week. (Courtesy Arket)

Installation view of the Laila Gohar x Arket carousel, showcased during this year’s Milan Design Week. (Courtesy Arket)

Laila Gohar: Website | Instagram
Arket: Website | Instagram

My Modern Met granted permission to feature photos by Arket.

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French artist JR has long championed vulnerable communities, and the volunteers who devote their lives to helping them, through his massive installations. His latest piece, created for the 61st Venice Biennale, is no exception. Titled Il Gesto — A contemporary reinterpretation of The Wedding at Cana, the work had Palazzo Ca’ da Mosto, home to The Venice Venice Hotel, covered in a lively scene. In addition to JR’s first venture into the realm of tapestry, Il Gesto also aims to return an important part of Venice’s lost cultural heritage to the city.

The installation was inspired by Paolo Veronese’s 1563 painting The Wedding at Cana, which depicts a biblical miracle: when Jesus turned water into wine. The original painting was hung at the monastery of San Giorgio Maggiore in Venice, where JR stayed often, before being taken to the Louvre, where the painting resides today. Hoping to restore this loss to the City of Canals, JR set out to recreate the painting’s composition with a modern twist. “Where do miracles happen in our daily life?” he pondered in an Instagram video.

The answer was found in Refettorio Paris, a France-based community kitchen serving sophisticated three-course meals free of charge to refugees and unhoused people. The charitable organization manages to accomplish this benevolent service by recovering items discarded by supermarkets due to minor aesthetic imperfections. They have been operating for eight years, fighting both food waste and hunger at the same time.

A labor this generous and ambitious required an equally sized artwork. The first element is the Palazzo Ca’ da Mosto’s facade, which has been temporarily covered with ultra-lightweight panels that show the chefs, volunteers, and guests of Refettorio Paris coming out of the windows, as if celebrating a feast next to Venice’s Grand Canal.

Inside the palazzo, the walls of The Grand Salon have been covered in portraits that come alive with sound. Each image features the voice of the person depicted. They tell stories about the people who keep the kitchen running, next to long tables with towering plants ready to provide for dozens of people.

The crown jewel of the project is the monumental tapestry, featuring 176 members of the Refettorio Paris community posing like the original figures in The Wedding at Cana. This textile masterpiece was created by Master Weaver Giovanni Bonotto and produced by Fondazione Bonotto.

On top of honoring the community kitchen, the tapestry also celebrates human creativity; no computer would have been able to render such a large, complex design the way the artisans did. The final piece took 600 hours of work, and featured recycled plastic yarns, virgin wool, organic cotton, and washi paper. As opposed to the ephemeral nature of the facade project, this tapestry—and Refettorio Paris’ work—will stand the test of time.

To stay up to date with the French artist and his collaborators, follow JR on Instagram.

The latest installation by JR honors Refettorio Paris, a community kitchen serving sophisticated three-course meals free of charge to refugees and unhoused people.

Titled Il Gesto — A contemporary reinterpretation of The Wedding at Cana, it was created for the 61st Venice Biennale.

The installation features portraits of chefs, volunteers, and guests who keep Refettorio Paris alive.

JR: Website | Instagram

My Modern Met granted permission to feature photos by Atelier JR.

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Studio DRIFT lit up a palace along the Venetian waterways for the 61st Venice Biennale. The site-specific installation, titled Shy Society, suspended five kinetic elements from the Palazzo Balbi, a historic building from the 16th century. The structures danced on the facade as part of their explorations on rhythm and light. The delicate yet hypnotic spectacle confirmed the many creative possibilities of lighting as an art medium.

The Dutch creative team describes this project as “a choreography of light and movement.” This particular installation mimics flowers opening in the morning and closing at night, a circadian rhythm-based movement known as nyctinasty that protects a plant’s reproductive parts from cold or dew. For this new piece, elements of water, wind, and a bustling city join the conversation, also informing their behavior.

The ephemeral work featured sculptural robotic flowers made of aluminum, polished stainless steel, silk, and LED lights. It then came to life with the custom algorithm developed by DRIFT to integrate their observations of nature into their projects. The algorithm allowed these “light flowers” to rise, align, and synchronize, following a meticulous choreography that resembles the rhythm of a human’s resting heartbeat.

Shy Society is closely connected to Shylight, another kinetic light installation by DRIFT that explores how we adapt to our surroundings and evolve over time. This achievement comes after five years of research devoted to determining how to translate organic movement to something that can create an engaging, interactive experience with a crowd and the building of choice. “Shylight is the result to the question ‘how an inanimate object can mimic those changes that express character and emotions?’” writes DRIFT.

Shy Society was on view at Venice’s Canal Grande between May 3 and May 10, marking yet another hit for DRIFT in a landmark year for the studio. In 2026, the Dutch duo will open its own museum in Amsterdam, turning it into a home for their large-scale immersive works. To stay up to date with them, you can follow Studio DRIFT on Instagram.

Studio DRIFT lit up a palace for the 61st Venice Biennale.

 

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Una publicación compartida por DRIFT (@studio.drift)

The site-specific installation, titled Shy Society, suspended five kinetic elements from the Palazzo Balbi, a historic building from the 16th century.

 

Ver esta publicación en Instagram

 

Una publicación compartida por DRIFT (@studio.drift)

Studio DRIFT: Website | Instagram

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Set inside a former railway factory in Florence, HALOS fills the industrial space with a striking display of suspended, reflective discs set in continuous rotation. The immersive installation was created by Spanish artist SpY, who’s known for his large-scale works that interact with city environments and turn familiar spaces into futuristic, surreal worlds.

As HALOS’ suspended circles gently rotate mid-air, they catch the natural light, creating a mesmerizing constellation of reflections bouncing between their golden and silvery surfaces. Visitors can enjoy the dazzling spectacle from multiple angles, thanks to the factory’s three levels. As you move around the space, the reflective discs overlap, rotate, shift, and reappear, creating a dynamic, ever-changing work of art.

SpY revealed that the reflective circles are actually photography reflectors, typically used to bounce light onto a subject during a shoot. By repurposing them, he transforms a functional tool into a captivating, immersive installation that surrounds viewers with shifting light and reflections, cleverly altering the perception of the space itself.

HALOS was part of Bright Festival in Florence, an event full of immersive art shows, light and sound experiences, audiovisual performances, and mixed media projects. Bright Festival is the organization that produced, commissioned, and funded the project. Check out images of the stunning installation below and find more of the artist’s work on SpY’s website.

Set inside a former railway factory in Florence, HALOS fills the industrial space with a striking display of suspended, reflective circles set in continuous rotation.

The immersive installation was created by Spanish artist SpY, who’s known for his large-scale works that turn city spaces into futuristic, surreal worlds.

As the suspended circles gently rotate mid-air, they catch the natural light, creating a mesmerizing constellation of reflections bouncing between their golden and silvery surfaces.

Watch how the suspended discs rotate mid-air to create shifting light and reflections.

 

View this post on Instagram

 

A post shared by SpY Studio (@spy__studio)

SpY Studio: Website | Instagram
Bright Festival: Website | Instagram

My Modern Met granted permission to feature photos by SpY Studio.

This post has been edited and updated. More information about the organizers of the event have been added.

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Milan Design Week recently wrapped up on April 26, and this year’s showcase was a bold mix of innovation and forward-thinking design. At 10 Corso Como, Italian fashion brand Moncler took over the iconic concept store, transforming both its interior and exterior with a giant inflatable pink octopus. The playful, larger-than-life puffer mascot captured the “buoyant summer mood” of the brand’s Puffy Summer campaign.

Inspired by Moncler’s signature puffer coats, the campaign features a line of thinner, layered outerwear suitable for the warmer months. The line is represented by a series of playful, inflatable animal sculptures made by set designer Andy Hillman and his team. An octopus, whale, lobster, seahorse, crab, and flamingo appear in colors that echo the collection, transforming familiar seaside creatures into bold puffy forms.

At the recent 10 Corso Como pop-up, the iconic giant octopus greeted visitors with its oversized, puffy tentacles spilling from the shop’s windows, balconies, and rooftop. Inside, the playful creature extended its limbs among 24 mannequins dressed in the Moncler’s Summer Collection.

But the octopus’s journey doesn’t stop there. From May 1 to 3, a host of playful, puffy creatures will take over Seoul’s Seongsu district. A giant octopus will wrap around the façcde of a dedicated space, drawing visitors into an immersive underwater world. Inside, Moncler’s Puffy Summer animals will appear alongside a presentation of the collection.

Find out more about Moncler’s Puffy Summer campaign here.

Italian fashion brand Moncler took over the 10 Corso Como concept store during Milan Design Week, transforming both its interior and exterior with a giant inflatable pink octopus.

 

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A post shared by 10 Corso Como (@10corsocomo)

 

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A post shared by 10 Corso Como (@10corsocomo)

 

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A post shared by Karla Otto (@karlaotto)

The playful, larger-than-life puffer mascot captures the “buoyant summer mood” of the brand’s Puffy Summer campaign.

Moncler: Website | Facebook | Instagram | YouTube
10 Corso Como: Website | Facebook | Instagram | TikTok

Source: Puffy Summer: Exclusive Pop-Ups

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Installation photography of Nick Cave: Mammoth, Smithsonian American Art Museum, 2026, ©Nick Cave; Photos by RON BLUNT STUDIO

A collection of faux fruits, bejeweled vegetables, wooden canes, glass fish, toy trucks, leather slippers, and much more covers an illuminated table spanning the length of a gallery at the Smithsonian American Art Museum. Looking haphazardly spread across the surface, appearances can be deceiving. The objects are arranged with purpose; the assemblage is one part of Mammoth, an immersive solo exhibition by artist Nick Cave. Known for his sculptural Soundsuits, this show contains his signature attention to detail that’s present in his wearable art.

Cave’s collection is a beacon within the scope of the show and offers a “deep dive” into his history growing up in Missouri. For anyone fascinated by visual culture and what everyday objects can say about ourselves and society at large, the splendor requires multiple ways of seeing. As a whole, it communicates collective memory and objects as a vessel for it. Individually, each element holds a different meaning tied to Cave.

“I come from a family of makers, musicians, poets, singers, craftsmen, woodworkers, quilters,” he tells The New York Times, “and that was something that I wanted to focus on.” Memories of being on his grandparents’ farm and the crafts prized by his sisters and nieces informed the horde on the 70-foot-long table.  As viewers, we likely don’t have the same attachment to the ordinary objects, but they challenge us to consider what matters to us and to reflect on that greater meaning.

While “Mammoth” could mean “quantity,” the show also takes a literal interpretation of the word. Cave constructed the creature’s hides and bones, and there is a video projection in which the animals come to life. Death, resurrection, and considerations of how to carry on are the exhibition's conceptual tent poles. Yes, the long-dead mammoth walks again, trudging forward into a new world. We must do the same, while holding all parts of us together—both the past and present—and consider how those things inform one another for the future. At a time when things feel bleak and humanity is on the brink, how can we both mourn and move forward with hope and possibility?

Like great art, Cave and Mammoth don’t have the answers, but provide a space for it to happen. The show is now on view until January 3, 2027.

A collection of faux fruits, bejeweled vegetables, wooden canes, glass fish, toy trucks, leather slippers, and much more covers an illuminated table spanning the length of a gallery at the Smithsonian American Art Museum.

Installation photography of Nick Cave: Mammoth, Smithsonian American Art Museum, 2026, ©Nick Cave; Photos by RON BLUNT STUDIO

The objects are arranged with purpose; the assemblage is one part of Mammoth, an immersive solo exhibition by artist Nick Cave.

Installation photography of Nick Cave: Mammoth, Smithsonian American Art Museum, 2026, ©Nick Cave; Photos by RON BLUNT STUDIO

Installation photography of Nick Cave: Mammoth, Smithsonian American Art Museum, 2026, ©Nick Cave; Photos by RON BLUNT STUDIO

Cave’s collection is a beacon within the scope of the show and offers a “deep dive” into his history growing up in Missouri.

Installation photography of Nick Cave: Mammoth, Smithsonian American Art Museum, 2026, ©Nick Cave; Photos by RON BLUNT STUDIO

“I come from a family of makers, musicians, poets, singers, craftsmen, woodworkers, quilters, and that was something that I wanted to focus on.”

Installation photography of Nick Cave: Mammoth, Smithsonian American Art Museum, 2026, ©Nick Cave; Photos by RON BLUNT STUDIO

Installation photography of Nick Cave: Mammoth, Smithsonian American Art Museum, 2026, ©Nick Cave; Photos by RON BLUNT STUDIO

The show is now on view until January 3, 2027.

Installation photography of Nick Cave: Mammoth, Smithsonian American Art Museum, 2026, ©Nick Cave; Photos by RON BLUNT STUDIO

Installation photography of Nick Cave: Mammoth, Smithsonian American Art Museum, 2026, ©Nick Cave; Photos by RON BLUNT STUDIO

 

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Exhibition Information:
Nick Cave
Nick Cave: Mammoth
February 13, 2026–January 3, 2027
Smithsonian American Art Museum
G Street Northwest and 8th St NW, Washington, DC 20004, U.S.A.

Nick Cave: Instagram

My Modern Met granted permission to feature photos by Smithsonian American Art Museum.

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Una publicación compartida por DRIFT (@studio.drift)

The Los Angeles County Museum of Art (LACMA) marked the opening of the David Geffen Galleries, the new home of its permanent collection, with a gala packed with Hollywood celebrities. But for all the stars on sight, none shined brighter than the sky above the new building. For the evening’s big finale, the museum teamed up with DRIFT for a mesmerizing light show featuring 1,000 drones.

The performance, titled Franchise Freedom, has become a staple of DRIFT’s portfolio. This art installation made its debut at Art Basel in 2017, and rather than showing fixed images, it’s based on a biological algorithm that evokes starling murmurations. Therefore, it can never be entirely predicted what shape it will take; and no two shows will be the same. Choreographed by Lonneke Gordijn and Ralph Nauta, the founders of DRIFT, the piece explores the relationship between man, nature, and technology.

“Developed through more than two decades of research into the swarming behavior of starlings, 1,000 drones in Franchise Freedom transformed the sky into a living field of collective motion and light,” DRIFT explains, “bringing nature and technology into dialogue through a shared vision of democratic space shaped by equality, interdependence, and collective experience”

The drones crowned the Peter Zumthor-designed building with light, engaging with the museum complex on Los Angeles’ iconic Wilshire Boulevard in a glittering conversation. You can relive this performance in the video below. To stay up to date with the David Geffen Galleries opening to the public and other events, you can follow LACMA on Instagram.

In honor of LACMA’s new David Geffen Galleries, DRIFT put on a light show with 1,000 drones overhead.

LACMA: Website | Instagram
DRIFT: Website | Instagram

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Many of us spend countless hours at home or in offices, cut off from the natural world. However, science proves that spending time in nature–or even just looking at pictures of it—has a positive impact on the mind, helps reduce stress, and lowers blood pressure. In a bid to improve our connection to the outdoors, British creative duo Lee Baker and Catherine Borowski (of Graphic Rewilding) transform urban environments with vibrant botanical murals.

Baker and Borowski met on a flight to New York and were drawn together by a shared desire to bring more nature and creativity to the lives of others. Borowski’s experience in large-scale curation encouraged Baker to take his studio-based, nature-inspired work into public spaces. And today, their vibrant, botanical installations and immersive environments can be found in cities all over the world.

Standout projects include a towering, animated floral design in collaboration with Lululemon that spans the full height of Chengdu’s twin towers. Graphic Rewilding has also transformed Rome’s Chiostro del Bramante, Shanghai’s Start Museum, and New York’s Botanical Garden with their distinct colorful murals. Each project is designed to bring joy and encourage a deeper sense of connection and empathy with the natural world.

One most recent project, titled Fleeting Opulence, transforms the Winter Garden and surrounding spaces at Brookfield Place in New York City. Suspended across the full height of the building’s glass facade, the gorgeous window display features a variety of larger-than-life flowers. The giant work celebrates the wildflowers and pollinators of spring and brings a joyful burst of color to the space that shifts with the sunlight.

We recently caught up with Baker and Borowski to learn how their blossoming collaboration first took root and how it has evolved since. Read on for My Modern Met’s exclusive interview.

You met on a flight to New York. Do you remember your initial conversation and what prompted you to collaborate?

Lee Baker [LB]: We’d both reached a crossroads in our lives, and the moment was ripe for change. Even though we didn’t talk about that specifically, I think we both knew in our hearts that we’d just met someone who felt the same way, and that was very exciting. However, I had an exhibition in New York, and was on my way to live with my sister in Santa Ana and make a go of it in California, and Catherine had her public art, curation and events career and life in London, so we didn’t think our paths would cross again. But it had been such an intense connection, mainly through our passion for all things art, that after a few months in California and a few million texts back and forth, I ended up booking a flight back to the UK, and the rest is history!

What did each of you immediately recognize in the other’s work that felt like a good match?

[LB]: Absolutely nothing haha! We both had totally different approaches to our art. Catherine’s work was highly conceptual, minimal, deeply rooted in an inner-city upbringing, and my work was rooted in aesthetics and Japanese culture. I’m not sure either of us “liked” the other’s work as such. In the early days, every time we visited a gallery or museum, we would argue a lot about the merits of the exhibitions. BUT, we used to play a game where we would have to independently choose our favorite artwork in a show, and we would invariably and inextricably pick the same artworks. There was this “Venn diagram” of understanding about what we appreciated.

How did you land on your distinctive visual language so early on?

[LB]: Actually, the visual language took a long time to develop. It was actually through Catherine encouraging me to take my 15-year studio painting practice into the public realm. As a kid, I’ve been obsessed with cartoons and Japanese anime, but in 2002, I saw Takashi Murakami’s first solo show at The Serpentine. It opened my mind because he’d managed to majestically cross the bridge between kitsch pop and the esoteric. Nowadays, I’m not so enamored with his oeuvre, but at the time, through seeing Murakami’s lecture on the origin of the “Superflat” art concept, I came into contact with an Edo-era painter called Ito Jakuchu, who had spent 10 years painting a nature scroll series called The Colourful Realm of Living Beings. The title alone had me captivated. I traveled to Japan for his retrospective exhibition, and in front of his works, I felt an indescribable power. Catherine and I have subsequently traveled to Japan and other parts of Asia many times, and both feel a connection. This led to a fascination with how nature was perceived through the eyes of various historical Japanese artists. Woodblock artists such as Utagawa Hiroshige, who in turn had hugely influenced Western artists like Van Gogh and Monet. But also work by modern-day anime and manga artists such as Makoto Shinkai, who channel the same beauty and respect for nature. I feel like Graphic Rewilding artwork is a marriage of these approaches.

Catherine Borowski [CB]: My background is in large-scale events and curation, so I was able to help us get a start. I had been commissioning numerous well-known and emerging public artists for projects, and I asked Lee to slip in a few of his artworks alongside, and it got a hugely positive response. The first artwork was called Graphic Rewilding, and we loved the phrase so much that we kept it.

Looking back, how has your collaboration evolved from those early days to your global commissions today?

[CB]: When I was studying art at Nottingham Trent University and working part-time in the photography department of a UK national newspaper, I would take the public railway back to London every week. Every time I saw the rows of office buildings in Canary Wharf outside the window, I would think of the “non-places” described by French anthropologist Marc Augé—those homogeneous, cold spaces that lack historical and cultural belonging. Since then, the impact of office buildings on people’s behavior patterns and the design logic of open office spaces have really stuck with me.

[LB]: Alongside this thinking, Catherine and I found the White Cube gallery world stifling and elitist, not just for artists, but for the public too. There’s a quote by Shirley Chisholm, the first Black woman in Congress: “If they don’t give you a seat at the table, bring a folding chair,” and that really resonated. We wanted to bypass the art world and bring art directly to the public.

[CB]: About 10 years ago, I had an idea to start a gallery in a dumpster, known as a “skip” in the UK. To use these overlooked vessels as a means of inspiring and displaying artwork. In order to avoid having to bend to others’ will, we funded the projects ourselves and quickly began exhibiting in parking spaces all over London. SKIP Gallery went on to become an international art project dedicated to creating much-needed space, opportunities, and funding for emerging artists, forging opportunities for artistic interventions by repurposing dumpsters. SKIP Gallery ended up curating and funding 24 shows, turning tarmac around the world into exhibition space. From London, Milan, and Rotterdam to remote towns on the Scottish Borders and Greek Islands. And in fact, our last SKIP Gallery show was in New York.

[LB]: When we began Graphic Rewilding, we had already had a taste of creating public art internationally and knew that we wanted to take Graphic Rewilding beyond the borders of the UK. Even though Graphic Rewilding is a very different proposition to SKIP Gallery, it comes from the same vision, that all public spaces are potential canvases for purposeful art. We knew from the outset that what started as murals was only the beginning of our Graphic Rewilding journey. Almost immediately, we started breaking our art away from the walls in order to create more immersive experiences. Situations people would walk, not past, but through. This led to my learning 3D software and an investigation of all types of substrates and manufacturing techniques that would not only help us create these huge works, but also be expedient for global travel and construction.

What’s been the most unexpected or exciting opportunity?

Even though we can’t talk about them yet, we have some phenomenal projects coming up in the U.S., which we are very excited about. There’s been such a connection here, and wonderful positive opportunities have come along.

That said, I think our most unexpected and biggest past project came through Lululemon in China, who work with an artist every year for World Mental Health Day, with a series of immersive health and wellbeing events across the whole country.

From early on, we’ve promoted and given talks about the scientifically proven positive effects on our wellbeing of not only nature itself, but also of imagery of nature. Lululemon really connected with our artwork and story, and we spent eight months developing some mind-blowingly maximalist artworks in colossal public spaces in Shanghai and the rest of China. The whole experience was extraordinary.

Lee, you’ve spoken about growing up in an inner-city environment. Was nature something you instinctively sought out, or something that gradually became part of how you live and create?

[LB]: Actually, Catherine’s inner-city experiences are more extreme than mine. She grew up in a social housing estate in North London. Looking out from the living room window, her view was a concrete parking lot. It was the 1980s. To be honest, no one in her community even had a car at that time, so all she saw was the gray asphalt. She often sat looking out the window, daydreaming that it could be a park, or a garden, with grass and daisies. I also grew up in an urban environment, and while I had a little more access to green space, I did not instinctively seek it out. I was among those kids who had, for many years, a total ambivalence to real nature and was more at home customizing cars and rummaging for car parts in scrap yards than going for a walk in a forest. Something I read about once really rang a bell with me, and it was a phenomenon known as “the extinction of experience,” where people simply forget what nature actually is and so lose empathy for the natural world. I thought that was me! But my particular awakening to happiness through nature came, over the years, through a passion for nature in art: paintings, prints, graphic design, tattoos, textile design, TV, social media, but also video games. I still find it incredibly relaxing wandering, often on horseback, through epic landscapes of games like Horizon Zero Dawn or Ghost of Yotei. Imagine, during a high-speed supercar race in the game Gran Tourismo, pulling over on a lay-by just to take a look at the stormy sunset on the horizon. This all sounds ridiculous, but tests have actually proven that people who are exposed to nature in VR and video games experience lower levels of stress and higher levels of positivity compared to those who are exposed to virtual urban environments. I’m certainly not proposing this as a replacement for nature, but I find it incredibly interesting that our brains can be hacked to suspend disbelief and accept that, though we are not interacting with real trees, rocks, or animals, we are psychologically benefiting from a totally imagined nature scenario. Something the artist David Hockney likes to describe as “New Nature.”

[CB]: We were at a huge David Hockney retrospective show in Paris recently, and I felt as much joy from seeing nature through his eyes as I do from the real deal. In order to joyfully encourage people to look up and take notice, we take those often missed tiny moments of floral joy, and zoom in to create larger than life designs, and we call this idea “Microscopic Maximalism.”

Your work appears in places like Brookfield Place and the Chiostro del Bramante. How does the surrounding architecture influence each design?

Our work is always totally site-specific, and creating such baroque art for strong architectural spaces is very difficult. It’s such a fine line, because our work contains so many conflicting organic shapes and colors which can clash horribly with the architecture.

To avoid this, we take lidar scans, photos, video and accurate measurements, then recreate the spaces in 3D software, where we set virtual cameras at eye level in numerous locations, then apply and adjust our designs accordingly. This “tuning” takes a long time because the design compositions are absolutely crucial to the artworks feeling correct in the architectural space.

We laugh about the fact that our lives would be a lot easier if our work was geometric!

Have you ever had a location where the work felt especially needed?

A great example of this was an early project, near the end of the pandemic, in Crawley in the UK, where most of the residents worked at Gatwick International Airport. After the outbreak, the airport was closed, residents lost their jobs, and the whole town fell into depression. The town contacted us and asked if we wanted to create a mural in a neglected street in the town centre. But instead, we took over walls, floor, benches, trees, billboards, and bins. People absolutely loved it. It was originally only supposed to be exhibited for three months, but was kept up for three years and was never vandalized (which, strangely, feels like a badge of honor).

How did you go about translating Van Gogh’s Irises into your own visual language for New York Botanical Gardens?

This project was at once hugely inspirational and incredibly daunting because Van Gogh is such an inspiration. How could we possibly do his work any justice?

Rather than simply translating his work into our Graphic Rewilding flat style, we wanted to imbue the flowers with the same sculptural quality that Van Gogh applied to his forms. This meant following the form of each petal with our own digital “brushstrokes.” But while doing so, we also realized that the nuances in subtle color variation this is able to achieve were a real step change in our work. It took much longer to draw, but it was such an opportunity to improve and grow as artists.

Do you spend time studying plants in real life before illustrating them, or is it more intuitive?

[LB]: This is a really good question. As you can see from the earlier questions, in the past, I was only fascinated by artistic depictions of nature. So my first port of call was copying historical Japanese artworks. However, because our work developed into being totally site-specific and rooted in place, we both began researching and photographing the flora and fauna of the places where we were commissioned. As this went on, we amassed a huge collection of drawings studied from real life, and my personal biophilic sensibilities grew and grew, as a glorious feedback loop occurred. But I always emphasize that I’m not a botanical illustrator. Even though our drawings are recognizable as specific plants, my aim is still very much an artistic interpretation, so I take many creative liberties with color and shape if it helps the final composition. The artwork rules over accuracy.

What’s the most technically challenging surface you’ve worked on?

The technical challenges are far-reaching, but we always get there in the end. They can range from extreme weather situations in New York, massive people traffic in the centre of Shanghai, or insane heights in London.

However, we did a seemingly simple project in Wales, UK, a few years ago, which was an underpass that was deep-set, with highly textured brick. Our work requires very precisely painted black lines, and that was an extreme technical challenge. It didn’t help that it rained 90% of the time!

Also, because we love covering entire floors to create full immersion in outdoor spaces, that can be quite a challenge.

Is there a flower that best represents each of you?

[CB]: I’m a huge fan of daisies and buttercups, and any wild flower that can appear in the cracks of concrete, to bring color and joy into urban spaces. There is a beautiful resilience in these flowers.

[LB] I think that resilience represents Catherine beautifully, although I’m not sure if the daisies represent me. I love drawing irises. There is such a gossamer delicacy about them, and their beauty is incredibly fleeting, making them very hard to capture.

What’s one small way people can bring a bit of “rewilding” into their everyday lives?

[LB] I think “noticing” is becoming a lost art. Our lives seem to have become so fast and distracted that sometimes we forget to really notice. I’m reading a fascinating book by Olivia Meehan called Slow Looking: The Art of Nature, which talks about that moment when beauty takes your breath away and bypasses the intellect. Maybe it’s naive, but I think we need a bit more of that in our lives.

Graphic Rewilding: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by Graphic Rewilding.

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Stratagems (installation view), 2026. CDs, concrete, stainless steel. © Tara Donovan. Photo by Nicholas Lea Bruno, courtesy of ICA SF.

At the Institute of Contemporary Art San Francisco (ICA SF), artist Tara Donovan unveils Stratagems, a captivating installation that reimagines a once-familiar technology as something immersive. Composed of thousands of stacked compact discs (CDs), the work rises into luminous formations that shimmer, refract, and continuously shift as viewers explore the space. What begins as recognizable material quickly transforms into an optical experience that feels both architectural and atmospheric.

Renowned for her ability to elevate everyday materials into large-scale environments, Donovan continues her long-standing investigation into perception, accumulation, and the hidden potential of ordinary objects. In Stratagems, she invites viewers to reconsider not only the physical properties of CDs, but also the fleeting nature of the technologies that shape contemporary life.

Throughout her career, Donovan has developed a distinctive visual language rooted in repetition and transformation. By using mass-produced materials such as plastic cups, pins, straws, and index cards, she constructs installations that blur the boundary between sculpture and environment. Her works often evoke natural phenomena such as cloud formations, geological growth, or shifting landscapes, despite being built entirely from industrial components.

With Stratagems, Donovan turns her attention to compact discs, an object that once symbolized cutting-edge innovation but has since slipped into obsolescence. Rather than presenting them as nostalgic artifacts, she activates their latent visual complexity and reflective qualities, allowing them to function as both medium and subject.

“We live in an age that feels increasingly defined by cycles of ingenuity and obsolescence,” Donovan tells My Modern Met. “In the span of my own lifetime, the archives of human experience have moved from paper volumes to ‘clouds.” Her choice of materials becomes a meditation on time, memory, and technological transition. The CDs, once vessels of stored information, now exist as physical remnants of a rapidly evolving digital landscape.

Within the glass-walled annex at the Transamerica Pyramid Center, Donovan’s sculptures rise in dense vertical formations that echo the silhouette of an urban skyline. From afar, these structures appear solid and monolithic, their surfaces reading as continuous planes of shimmering color. As viewers approach, however, the illusion begins to dissolve. The stacked discs reveal themselves as intricate layers, each one catching and bending light into shifting spectrums that ripple across the surface.
The experience of the work becomes increasingly immersive as light interacts with the material. Reflections scatter across the gallery, producing subtle chromatic shifts that respond to both the viewers’ movement and the changing conditions of the space. What initially appears static becomes fluid and unstable, encouraging prolonged looking and careful attention.

“As relics of a very recent past, their quick erasure from material culture exemplifies the chaotic speed of technological advancement,” the artist notes.

The architectural context of the installation plays a crucial role in shaping its visual impact. Situated within a transparent gallery space at the Transamerica Pyramid Center, the sculptures are continuously animated by natural light that shifts throughout the day. Sunlight filters through the glass, intensifying the reflective properties of the CDs and casting layered patterns of light and shadow across the room.

“The implication is one of infinite vertical expansion,” Donovan says. “Having this iconic piece of architecture as a visual corollary brings the city itself into the experience of the work.”

The towering CD forms suggest the upward thrust of skyscrapers, yet they resist the functional constraints of architecture. Instead of serving a utilitarian purpose, they explore the expressive possibilities of structure itself. “As an artist, I don’t have to follow the rules of architecture,” Donovan explains. “Rather than focusing on use, function, and operation, I give myself the freedom to tease out structural possibilities for purely aesthetic and experiential ends.”

Despite their industrial origins and precise construction, Donovan’s sculptures possess an unmistakably organic quality. This tension between controlled repetition and emergent form lies at the core of her practice. Each work begins with a simple set of rules, which are then carried out through sustained, methodical labor. Over time, these repetitions accumulate into complex structures that appear to grow and evolve. “Living structures develop through similar means,” Donovan explains. “My work might appear ‘organic’ or ‘alive’ because my process mimics basic systems of growth found in nature.”

The visual experience is further complicated by the interaction of light within the layered surfaces. Shadows settle into narrow spaces between discs, while reflected light creates a shifting interplay of depth and transparency. “The viewer experiences a constant slippage between foreground and background,” she says, “resulting in perceptual shifts that read visually as a form of vibration.”

The title Stratagems offers insight into the conceptual framework underlying the installation. “A stratagem is any clever scheme, sometimes one designed to deceive, in order to create chaos around perceptions of reality,” Donovan explains, all of which resonates with the experience of the work itself.

This notion of perceptual instability is central to the installation. Surfaces that appear solid begin to dissolve under closer inspection. Forms that seem fixed become dynamic as light and movement intervene. Through the accumulation of simple elements, Donovan constructs an environment that challenges viewers to question the reliability of their own vision. By harnessing the overlooked qualities of a discarded material, she creates a space that is at once contemplative, immersive, and in constant visual flux.

Stratagems by Tara Donovan is a luminous installation that transforms thousands of obsolete CDs into towering, light-shifting sculptures, immersing viewers in a constantly changing visual experience.

Stratagems (installation view), 2026. CDs, concrete, stainless steel. © Tara Donovan. Photo by Nicholas Lea Bruno, courtesy of ICA SF.

Stratagems (installation view), 2026. CDs, concrete, stainless steel. © Tara Donovan. Photo by Nicholas Lea Bruno, courtesy of ICA SF.

Stratagems (installation view), 2026. CDs, concrete, stainless steel. © Tara Donovan. Photo by Nicholas Lea Bruno, courtesy of ICA SF.

Stratagems (installation view), 2026. CDs, concrete, stainless steel. © Tara Donovan. Photo by Nicholas Lea Bruno, courtesy of ICA SF.

Donovan is known for turning everyday materials into large-scale environments that explore perception, repetition, and the hidden potential of ordinary objects.

Stratagems (installation view), 2026. CDs, concrete, stainless steel. © Tara Donovan. Photo by Nicholas Lea Bruno, courtesy of ICA SF.

Stratagems (installation view), 2026. CDs, concrete, stainless steel. © Tara Donovan. Photo by Nicholas Lea Bruno, courtesy of ICA SF.

Stratagems (Install in Progress), 2026. CDs, concrete, stainless steel. © Tara Donovan. Photo by of Nick Stone Schearer via SHVO, courtesy of ICA SF.

Presented at the Institute of Contemporary Art San Francisco, the exhibition reflects on technological obsolescence while using light, reflection, and accumulation to create structures that feel both architectural and organic.

Stratagems (Install in Progress), 2026. CDs, concrete, stainless steel. © Tara Donovan. Photo by of Nick Stone Schearer via SHVO, courtesy of ICA SF.

Stratagems (Install in Progress), 2026. CDs, concrete, stainless steel. © Tara Donovan. Photo by of Nick Stone Schearer via SHVO, courtesy of ICA SF.

Exhibition Information:
Tara Donovan
Stratagems
January 17–July 31, 2026
Institute of Contemporary Art San Francisco
600 Montgomery St, San Francisco, CA 94111

Tara Donovan: Website 

My Modern Met granted permission to feature photos by Institute of Contemporary Art San Francisco.

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READ: Obsolete Compact Discs Are Transformed Into Towering, Shimmering Sculptures