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This exhibition celebrated Dorothy and Herbert Vogel's gift of 50 works to the Albright-Knox from their collection of more than 4,000 objects by some of the most remarkable and renowned artists of our time.

Albright-Knox Artist-in-Residence Ingrid Calame and her team made hundreds of square feet of drawings, which Calame then transformed in her Los Angeles studio into the drawings and paintings that made up this exhibition.

Topographies drew its inspiration from the definitive aspects of topographical mapping by shedding light on artists who employ a visual language that oftentimes blurs the boundaries between the natural and man-made.

This exhibition honored the outstanding career of Robert Mangold, an artist whose roots are in Buffalo and who has been a major figure in the investigation of geometric abstraction since the 1960s.

Drawn from the Albright-Knox’s extensive collection of works on paper and featuring drawings of solitary figures, pairings of figures, and figures in groups, the exhibition invited visitors to explore the basic human need for companionship.

The premise of WALL ROCKETS: Contemporary Artists and Ed Ruscha, organized by Lisa Dennison and originally on view at the FLAG Art Foundation in New York City, could have been defined simply as an artist and his sphere of influence. 

A meditation on vice and naughtiness in contemporary art, Bad Habits presented a selection of the more subversive objects in the Albright-Knox’s collection.

This selection of works from the Albright-Knox's collection focused on an era that produced some of the most culturally responsive imagery in American history.

This exhibition—organized and circulated by Smith Kramer Fine Art Services—featured 47 exquisite color and black-and-white photographs of the Mexican artist Frida Kahlo by the American photographer Nickolas Muray.

Organized by the Albright-Knox in collaboration with The Jewish Museum, New York, and the Saint Louis Art Museum, this special exhibition revisited the watershed period of American art from 1940 to 1976 through the writings of its two primary critics: Harold Rosenberg and Clement Greenberg.

This installation drawn from the museum’s Archives and Library collections told the story of how the Albright-Knox became one of the first art museums in the United States to actively acquire and exhibit the new art of the 1950s.

This exhibition focused on 53 extraordinary Widelux images of Cummins Prison Farm taken more than 25 years ago, part of a larger group of works that center on prison culture in the United States.