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As a German traveling to Buffalo in the 1990s, Engel brings a contemporary eye to these quintessential structures, as only a European in love with modern American architecture can.

This exhibition, which gathered the work of 20 artists who work in all media — from painting, photography, and sculpture to video and installation — explored the question of identity in a world where mobility is considered the norm.

Angela Grauerholz created her own archive: a tomb-size wooden cabinet that houses 62 large-scale, black-and-white photographs.

On view concurrently with Monet at Giverny, the selection of exquisite photographs provided a special insight into Monet's gardens, depicting the grounds in different seasons and times of day.

Monet at Giverny featured 22 paintings that Monet created between 1903 and 1926 while living at Giverny, not far from Paris.

Carved, Modeled, Assembled, Welded, Drawn provided an opportunity to revisit the museum’s sculpture collection through selected works produced between 1944 and 1999.

Next to Nothing showcased the museum’s comprehensive holdings of minimalist art, the movement that sought to reduce painting and sculpture to its essentials.

Organized in cooperation with the Tokyo Shimbun, more than 60 of the Albright-Knox’s most treasured European works were on view at the museum before traveling to Japan.

From Behind Closed Doors revealed "mysteries" from the Albright-Knox's storage vaults.

From a selection a more than 1,200 slides and videotapes submitted by 313 artists, juror Paul Ha selected 72 works by 45 area artists.

In 1991, French artist Sophie Ristelhueber traveled to Kuwait to record the physical aftermath of the Persian Gulf War. From this series, Ristelhueber produced large-format photographic prints that she has shown in groups.

The Eye's Pop: Op Art from the Albright-Knox Art Gallery included approximately 50 examples of Op art that the Albright-Knox collected from 1962 to 1970.