Everything That Happens Will Happen Today

April 4 – May 24, 2026

→ Hessel Museum of Art

Exhibition Collection

2026 Graduate Student Curated Exhibitions

Exhibition Category

Collected exhibitions

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Opening Reception, Saturday, April 4, 1pm - 4pm

Limited free seating is available on a roundtrip chartered bus from New York City for the April 4th opening. Reservations are required and can be made on this by calling +1 845-758-7598 or emailing Mary Rozell at mrozell@bard.edu.

Everything That Happens Will Happen Today collects curatorial projects organized by the Class of 2026 at the Center for Curatorial Studies, Bard College, in fulfillment of their M.A. in Curatorial Studies. From solo exhibitions that revisit and reinvigorate historical legacies to group shows that foreground contemporary practices, the projects span diverse disciplines, time periods, and materials.

These projects are the result of rigorous study, combining scholarship with a focus on the practices of exhibition-making. Developed over the past two years—a period of active political turmoil—each is informed by this climate, though motivated by distinct concerns. Although these projects are drawn together by chance, their shared environment is felt here as a persistent vibration.

False Sponsor, Part of Being Alive, and We made it up to remember… collect practices that take the image as an origin point to confront questions that are both personal and societal. Adapting to shifts within a shared atmosphere, Useful Contaminants, Weather Stress Index, and Full Tilt explore the lasting effects of unseen infrastructures.

Each examining a single artist’s legacy, Anne Healy: Logic of Intuition, Shigeko Kubota: “Video is a ghost of yourself”, and Maria Auxiliadora da Silva: Imprinted in My Mind examine the ways that practices, both artistic and curatorial, foster exchange that is intergenerational, intercultural, and international. Looking to the past to better understand contemporary conditions, Assume Form, Prospective Fields: Revisiting Land Marks, and Ceremonial Healings of Bastet the Cat: On Halim El-Dabh’s Sonic World reassess the ways artistic practices are historicized, exploring them through alternative perspectives and methodologies.

Together, the exhibitions of Everything That Happens Will Happen Today ask: Where, and when, do we look to understand our present?

The CCS Bard Class of 2026 is Ray Camp, Alma Chaouachi, Mike Curran, Christopher Gianunzio, Lila Gould, Bruna Grinsztejn, Grace Harmer, Gladys Lou, Devon Ma, Truth Murray-Cole, Emily Nola, and Amy Yuanchen Qian.

The graduate student-curated exhibitions and projects at CCS Bard are part of the requirements for the master of arts degree and are made possible with support from Lonti Ebers; Robert Soros and the Enterprise Foundation; the Rebecca and Martin Eisenberg Student Exhibition Fund; the Mitzi and Warren Eisenberg Family Foundation; the Robert Mapplethorpe Foundation; The Wortham Foundation; the Board of Governors of the Center for Curatorial Studies; and the Center’s Patrons, Supporters, and Friends.

Included exhibitions

False Sponsor

Curated by Ray Camp

Featuring artworks alongside historical and contemporary documents produced by and for the government, False Sponsor seeks to reveal the often invisible strategies employed to control perceptions of the American enterprise. Abigail Raphael Collins, Sophie Kovel, and Julia Weist present and restage the US government’s sponsorship of propaganda over the past century and appropriate the official documentation that tracks the state’s relationship with the arts.

Ceremonial Healings of Bastet the Cat: On Halim El-Dabh’s Sonic World

Curated by Alma Chaouachi

Ceremonial Healings of Bastet the Cat presents the archive of Egyptian American composer, teacher, and ethnomusicologist Halim El-Dabh (1921–2017). Drawing from his personal papers held at Northwestern University Music Library and Special Collections, the exhibition brings together graphic scores, teaching materials, sound works, and ethnomusicological research, providing an entry to El-Dabh’s musical philosophy and Africanist pedagogy.

Prospective Fields: Revisiting Land Marks

Curated by Mike Curran

Prospective Fields revisits Land Marks, a 1984 exhibition that invited twenty-two artists to propose outdoor sculptures for Bard College. Original renderings and scale models from Alice Aycock, Ana Mendieta, Dennis Oppenheim, and Athena Tacha feature alongside a newly commissioned proposal by David Horvitz, generating a cross-generational dialogue around these unrealized propositions.

Part of Being Alive

Curated by Christopher Gianunzio

How do artists contend with the suffocating image worlds America produces? Part of Being Alive presents works by US-based artists Sara Cwynar, Mike Kelley, Arthur Jafa, and Carmen Winant, each of whose work engages vastly diverse—though all decisively American—photographic sources to elaborate on the ways in which photography constitutes our life worlds.

Anne Healy: Logic of Intuition

Curated by Lila Gould

Logic of Intuition is the first solo exhibition of Anne Healy’s work in decades, featuring both outdoor and indoor sculptures at the Hessel Museum of Art and the Bard College campus. Emphasizing the intersection between public art and theater, Logic of Intuition brings together sculptures and photographs of works from the 1970s. By highlighting this decade of Healy’s career, the exhibition demonstrates how she defines the artist as an actor and considers the audience to be a crucial component of her practice.

Maria Auxiliadora da Silva: Imprinted in My Mind

Curated by Bruna Grinsztejn

Maria Auxiliadora da Silva: Imprinted in My Mind presents paintings of rural and urban life in mid-century Brazil. Drawing from memory, her work explores the interplay between countryside and city, revealing the rhythms and contradictions of modern life. Through vivid color and dynamic compositions, da Silva resists reductive labels such as naive or outsider.

Useful Contaminants

Curated by Grace Harmer

Useful Contaminants brings together artists Robbie Wing and Erik DeLuca, whose newly commissioned works amplify that which remains unseen or unheard. Through Wing’s feedback-driven sound installation—which amplifies vibrations held within organic materials from the Mahicannituck River Valley—and DeLuca’s response to these vibrations through a score for listening, the exhibition unfolds as an evolving sonic dialogue shaped by useful contamination, in which organic materials, instruction, and listening co-produce shifting acoustic conditions.

Shigeko Kubota: “Video is a ghost of yourself”

Curated by Gladys Lou

Shigeko Kubota: “Video is a ghost of yourself” presents the curatorial work of Japanese American artist-curator Shigeko Kubota (久保田成子), emphasizing her role as a cultural mediator and community organizer who advocated for women video artists and fostered international exchange between the United States, Japan, and beyond.

Full Tilt

Curated by Devon Ma

Full Tilt presents newly commissioned works by Jonathan González, building upon his ongoing choreographic project Swerve Fatigue through a new performance and installation. In the face of relentless pressures toward individualism, Swerve Fatigue challenges the illusion of the autonomous individual, instead centering collective resilience. In this exhibition, elements including the sounds of the performers’ labored breathing and the accumulation of their sweat-soaked clothing extend the questions posed by Swerve Fatigue to foreground the exhausting process of striving toward interdependence.

Weather Stress Index

Curated by Truth Murray-Cole

Weather Stress Index exhibits recent artworks by Edgar Arceneaux, Rhea Dillon, Kameelah Janan Rasheed, Analia Saban, and Charisse Pearlina Weston that register pressures exerted by their ever-shifting environments.

Assume Form

Curated by Emily Nola

Assume Form reimagines what exactly alchemized within the Cybernetic Culture Research Unit (CCRU), a para-academic collective convened in 1995. Through a highly interdisciplinary practice they attempted to expand the limits of theoretical production, reckoning with new technologies and their distinct historical moment. Via the artworks, music, magazines, and essays produced by the CCRU and its collaborators, the exhibition creates an imagined space in which the ongoing resonances of this highly influential group begin assuming form.

We made it up to remember …

Curated by Amy Qian

We made it up to remember … is a two-person exhibition featuring recent film and installation by Chinese artists He Zike and Ma Qiusha. The two artists craft scenes drawn from urban life that frame intimate narratives. The works point to histories that mark important political and infrastructural changes in a nation while imagining extended narratives based on long-spanning research into familial archives and local investigations.

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