What is the Proper Way to Display a Flag?
Museum für moderne Kunst, Weserburg
19 November 2022 – 23 April 2023
To Begin Again: Artists and Childhood
The Institute of Contemporary Art, Boston
6 October 2022 – 26 February 2023
Born 1970, Baltimore. Lives and works in Philadelphia.
What Do We Want, Neuer Berliner Kunstverein, Berlin
Ricerche, The Common Guild, Glasgow
An Army Of Lovers Cannot Lose, Tanya Leighton, Berlin with Kristina Kite Gallery, Los Angeles
I March in the Parade of Liberty but as Long as I Love You I’m Not Free, New Museum, New York
What is the Proper Way to Display a Flag?, Museum für moderne Kunst, Weserburg (forthcoming)
To Begin Again: Artists and Childhood, The Institute of Contemporary Art, Boston (forthcoming)
Shifting the Silence, SFMoMA, San Francisco (forthcoming)
Performing Past-Present: Transforming Reenactment, Cantor Fitzgerald Gallery, Haverford College, Pennsylvania
A Decade of Acquisitions of Works on Paper, The Hammer Museum, Los Angeles
After August Sander, Museum für Gegenwartskunst, Siegen
All that We Have In Common, MoCA Skopje, North Macedonia
Yesterday we said tomorrow, Prospect 5 Triennial, New Orleans
Pictured as a Poem, KAI10 Arthena Foundation, Düsseldorf
One Escape at a Time, 11th Seoul Mediacity Biennale, Seoul
Burning Speech, Fondazione Sandretto Re Rebaudengo, Torino
New Grit: Art & Philly Now, Philadelphia Museum of Art
Mapping the Collection, Museum Ludwig, Cologne
Commonwealth, Institute for Contemporary Art, Virginia
For the exhibition ‘Allan Kaprow YARD’, curated by Helen Molesworth for the opening of Hauser & Wirth’s New York gallery space, Sharon Hayes presented her reinvention of Allen Kaprow’s seminal Environment ‘Yard’ - a veritable mountain of black rubber auto tires and tarpaper-wrapped forms through which visitors jumped and crawled — first made by the artist in 1961 and radically reinterpreted in other locations ten times before his death in 2006.
Hayes’ reinvention, ‘Yard (Sign)’ was exhibited in the New York Marble Cemetery at 41 ½ Second Avenue on the Lower East Side, where she filled the historic site with hand-painted signs – some small, some quite large. Hayes has been influenced in this piece by the various written statements Kaprow produced over the years for his own different reinventions of ‘Yard,’ as well as the poster he made in 1961 - his first version of the project, a large ink drawing of a classic yard sale sign. At the same time, Hayes’ work at the Marble Cemetery evoked the American archetype of the suburban yard, a private domain that is nevertheless often filled with public signs, notably for political campaigns and real estate sales.