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This installation debuted a new group of colorful abstract paintings by the New York–based artist Dan Colen, who translates the gestures of action painting into piles, globs, and skeins of multicolored chewing gum.

This exhibition situated Shayne Dark’s monumental works in and around the Buffalo and Erie County Botanical Gardens, harnessing the Gardens’ existing natural drama.

Screen Play: Life in an Animated World was the first exhibition devoted exclusively to examining the work of contemporary artists who use the techniques, technologies, and tropes of animation as tools in their practice. 

Often inspired by the history of art, Jeff Koons directly based his sculpture Gazing Ball (Charity) on La Soupe by Pablo Picasso, one of his major artistic influences.

This exhibition presented a singular, pioneering work by Heinecken, Surrealism on TV, 1986, which weaves together the artist's interest in both print and broadcast media. 

This exhibition featured an installation of Adamo's small sculptures in the Gallery for Small Sculpture as well as a new group of large-scale wood-carved sculptures in the Sculpture Court. 

From its sweat, danger, and drudgery, to its heroism, daring, and pride, the labor of others has fascinated artists throughout the modern period. Inspired by works in the Albright-Knox’s collection, this exhibition created connections between art and artists from the late 18th century to the present.

This comprehensive exhibition of captivating depictions from the late 18th century to post-modernity explores the evolution of Western portraiture by delving into the complex network of social conventions and artistic practice that have shaped the genre. 

Selected from the Albright-Knox’s substantial holdings by Arturo Herrera, this exhibition gave prominence to the artist’s multifaceted practice.

This exhibition focused on the painter's development during the 1960s and 1970s, a period that marked her transition from oil to acrylic paint, and from gestural abstraction to robust images of consolidated color and tonal nuance.

This exhibition fleshed out the full spectrum of Paul Feeley’s creative output, from early Abstract Expressionist–inspired paintings to the diagrammatical compositions that preoccupied him from 1962 until 1966. 

This exhibition presented four works by Dean from the Albright-Knox’s collection that were created following two visits to the Romanesque cloister at Santo Domingo de Silos, a Benedictine monastery in northern Spain.