Artists depict interior settings in many ways. Some focus on them as the subject of their work, while others use them to create settings and backdrops to inform a scene. Often, they are rich in detail and ripe for further visual exploration. Stay Awhile: Interiors in Art encourages visitors to thoroughly ponder a selection of works from Telfair’s permanent collection, including paintings, drawings, and photographs, that feature a variety of views of the indoors. Rather than emphasize a specific narrative, the text accompanying each work of art offers the visitor entry points for looking more closely at elements of a composition, encouraging them to form their own ideas or discuss them with fellow museumgoers.

In Reflection: Contemporary Art and Ourselves is a long-term evolving installation of Telfair Museums’ modern and contemporary collection featuring paintings, prints, drawings, photographs, sculptures, textiles, and mixed and time-based media from 1945 to the present day. In addition to the expansive historical context and aesthetics, the wide variety of artworks on view encourages us to consider the artist’s role in mirroring individual and collective experiences and identities through these objects. These reflections are broadly explored as personal, social, and cultural themes. The PERSONAL delves into the self, offering insight into the feelings and emotions invoked through the work. The SOCIAL looks critically at the world, tackling of-the-moment topics such as climate change, globalization, social activism, and politics. The CULTURAL takes a big picture view, grappling with history, religion, language, heritage, legacy, and land that are central to cultural customs and traditions.

The exhibition also features select loans of provocative artworks by cutting-edge contemporary artists in the United States and beyond. These additions remind us that art is never static but continues to personally, socially, and culturally respond to the current moment. Offering another point of view, audio clips by artists, art professionals, and community members react to select works and encourage multiple interpretations. As we navigate the exhibition and learn about the works, we can ponder our own perspectives, unveiling a deeper understanding of ourselves and our relationships with the world around us.

This exhibition is organized by Telfair Museums and curated by Erin Dunn, curator of modern and contemporary art with assistance from Kylie de Jesus, Melaver Family Curatorial Intern.

Telfair celebrates a new exhibition in its immersive Children’s Art Museum (CAM) that focuses on the fantastic art of Savannah artist and sailor William O. Golding (1874-1943). A host of new interactive experiences will lead children and adults through the remarkable story of this artist whose seafaring adventures of 49 years inspired his distinctive maritime drawings. New exhibits by FREN Inc. bring Golding’s pencil and crayon drawings to life in animations that visitors of all ages may control and interact with.

A popular 2022 Telfair Museums exhibition and book documented Golding’s colorful life and art. Golding, an African American seaman, was tricked aboard a sailing ship as a youth on Savannah’s waterfront in the 1880s. He eventually became a seasoned sailor who served in the U.S. Navy and worked on ships of all types from a whaler to a man o’ war. In the new CAM, Telfair’s collection of 23 Golding drawings serves as inspiration for interactive exhibits showcasing the ships depicted in his art, as well as ports near and far that he visited across the globe. An immersive LED wall will allow participants to guide their own animated ship to follow Golding’s journeys, exploring geography, weather, and maritime technology as seen by one of Savannah’s most unique artists.

The tenth annual Boxed In/Break Out is a collaboration between Savannah-based artists Lisa D. Watson and Dana Richardson. Watson is a native plant advocate with the Georgia Plant Conservation Alliance and the Georgia Native Plant Society and serves as a guide for painter Richardson to explore indigenous plant habitats as inspiration for her paintings. Combining sculpture, painting, and text, the artists will transform each window into a theatrical narrative where fragile ecosystems take center stage. The scenes will invite viewers to step into an immersive experience that bridges the divide between human-made and wild spaces. Unique stories—from ancient trees in Maritime Forest to Longleaf habitats, fleeting grasslands and wildflowers, the adaptations of bog and aquatic plants —are revealed to evoke a sense of wonder and urgency and education. By casting Coastal Plains indigenous plants as both hosts and heroic performers, the installation underscores their critical role in sustaining life while highlighting the precariousness of their existence.

Guest judge Renée Maurer, associate curator at The Phillips Collection, selected Heroes and Hosts because “of the creative ways it addresses themes of biodiversity and conservation, using storytelling to highlight indigenous and vulnerable plant species in Georgia. Combining painted and sculptural elements, each window will theatrically reveal a beautiful, immersive, educational experience. The project will create moments of reflection allowing visitors to consider their relationship with nature and their role in conservation.”

Ships of the Sea Maritime Museum—an acclaimed museum dedicated to celebrating and preserving America's maritime legacy—is delighted to present "Beyond the Plate: Sea and Sky," an exciting new solo exhibition featuring nautical-inspired, mixed-media art by Rob Strati

"Beyond the Plate" will showcase new work by one of America's hottest contemporary artists. Strati has recently enjoyed sold-out exhibits at Duane Reed Gallery in St. Louis and FREMIN Gallery in New York and has sold work to top international art collectors in New York, London, Hong Kong, Dubai, and beyond. Strati's art incorporates broken porcelain plates that have been embellished and adorned with creative details. The exhibition features the artist's latest bold, kinetic mixed-media works and limited-edition prints, as well as an ambitious site-specific installation that will be suspended from the ceiling of the Ships of the Sea atrium.

Opening Reception: September 25, 2025, 5:30-7:30 pm

Read more here!

Personified presents selections from the SCAD Museum of Art Permanent Collection that focus on the human form as a vessel with which to examine common culturally constructed ideas related to identity. The works on view demonstrate the myriad ways artists hybridize, morph, caricaturize, or embellish their figures, imbuing them with characteristics typically unrelated to the body but which ultimately emphasize their humanity.

Exhibiting modes of personification from animals to common objects, the shifting body manifests first through metamorphosis — a theme anchored in historic literary and religious sources — which sees the subject in the process of transformation, typically as a metaphor for broader themes like love, alienation, hidden fears, or growth. These works include Wangechi Mutu’s Homeward Bound (2010), which depicts a figure transmuting into a hybrid animal–machine, an expression of the raw strength of women. Other works explore the notion of the composite, in which the subject is presented as an amalgamation of an array of cultural signifiers as a reflection of the social conditions of the artist’s time, as seen in the images of luxury items that make up Rashaad Newsome’s photographic collaged portrait GAG (2015). Lastly, the adorned body is celebrated in works like Nick Cave’s Drive-By, a freewheeling film in which the artist’s iconic Soundsuits jump, roll, and dance in fluid, pulsating motion. The artist’s extravagant costumes obscure all identifying features of the wearer as well as the resulting inferences the viewer could make based on appearance, offering transcendent, joyful embodiments of empowerment.

Personified is organized by SCAD Museum of Art curator Ben Tollefson.

Image: Wangechi Mutu, "Homeward Bound," 2010, archival pigment print with silkscreen on archival paper, edition 32 of 45, 25 x 19 1/4 in. SCAD Museum of Art Permanent Collection.

For more than three decades, Telfair’s annual Making Marks exhibition has celebrated community art making, highlighting the work made by individuals of all ages, backgrounds, and abilities. Art making provides opportunities for self-expression, creative development, and healing. Much of the art featured is made in group environments as part of Telfair’s extensive outreach programming at Savannah area community partner sites. The exhibition includes art made under the guidance of Telfair outreach instructors at local health and social service organizations, along with art made by local students, veterans, and incarcerated individuals. Making Marks reflects on the positive impact art can make in our lives.

2025 Community Partners Include:

St. Joseph’s/Candler Hospital –Outpatient Rehabilitation, Georgia Infirmary, Movement Disorders Program, and Cancer Survivorship Program, Union Mission, Inc. –Ben and Betty Barnes Center, Park Place Outreach, Inc., Senior Citizens, Inc. –Ruth Byck Adult Day Health Center, Savannah Center for Blind and Low Vision, Chatham County Sheriff’s Office, Youth Intercept Program, EmployAbility, Savannah Speech and Hearing Center –Stroke Survivors’ Support Group, City of Savannah Therapeutics Program, City of Savannah Adult Day Care Program, Coastal Harbor Behavioral Health, LIFE, Inc., Savannah VA Outpatient Clinic, Savannah Regional Youth Detention Center, Tharros Place, Matthew Reardon Center for Autism, Savannah-Chatham County Public Schools System, and Telfair’s Veterans Studio Art Program –Savannah Veterans of the Arts.

A Seat at the Table is a solo exhibition of figurative paintings on canvas and a site-specific mural by artist Julia Roland (b. 2002). A recent graduate of SCAD who grew up in Savannah, Roland’s identity as a queer Black woman from the American South informs her practice, but she sees the works speaking broadly to the human need for community. The exhibition invites painted figures and the viewer to meet in quiet dialogue, sharing a space around a table in both a physical and metaphysical sense. Through expressive hairstyles, layered color, contrasting backgrounds, and shifting poses, each unique subject’s face becomes a focal point, meeting our gaze with insistence—a site of recognition and resistance. A Seat at the Table invites all voices into the room, asking us not just to look, but to witness human connection and empathize with ongoing struggles.

About the artist:
Julia Roland is a visual artist and graduate of the Savannah College of Art and Design, earning a BFA in Painting with a minor in Art History. She began making art in fifth grade and continued her development through performing arts schools in her hometown, Garrison School for the Arts and Savannah Arts Academy.

Roland’s work explores the layered complexities of African American culture and human identity. She creates portraits that reflect her lived experience and intersections of race, gender, and sexuality in shaping identity and visibility.

A Seat at the Table is part of Telfair Museums’ #art912 initiative, which is dedicated to raising the visibility and promoting the vitality of artists living and working in Savannah. This exhibition is organized by Telfair Museums and curated by Erin Dunn, curator of modern and contemporary art.

Image: Julia Roland; mural proposal for A Seat at the Table, 2025-2026; courtesy of the artist.

Telfair Museums presents a solo exhibition by artist Bojana Ginn in conjunction with the 19th edition of the museum’s PULSE Art + Technology Festival. Ginn states that her works “operate between science and spirituality, where algorithms translate intimacy into wonder.” Her new interactive installation entitled Biometric Sublime transforms the rhythms of the human body into a living ecosystem of art. At its core is the heartbeat, translated into luminous video animations, therapeutic audio, and sculptural fiber elements that invite immersion and contemplation. A biometric sensor in the exhibition amplifies the viewer’s presence, turning each heartbeat into a visual expression. The rhythm of deepbreath is also encoded in the movements of the immersive video. Alongside the installation’s digital components, sculptural elements created from organic fibers such as sheep’s wool and jute will merge with sustainable synthetic materials, echoing themes of renewal and healing. Biometric Sublime is an aesthetic environment of well-being: intimate, futuristic, and profoundly human.

About the artist:

Dr. Bojana Ginn is an award-winning interdisciplinary artist, former medical doctor, and curator. Her abstract art advocates health as a human right, addressing the impact of digital and biotechnologies amid climate change. A recipient of the Ellsworth Kelly Award, Ginn’s work has been exhibited internationally, including the Venice Architectural Biennale and the Museum of Art and Design in New York, and she has held solo exhibitions at the Museum of Contemporary Art, GA, and Atlanta Contemporary. Collaborating with scientific institutions such as NASA, Ginn’s impactful work resonates at the intersection of art and innovative research. Her ephemeral and site-specific installations often incorporate biological material such as sheep’s wool in combination with LED lighting, and digital video projections. A champion of sustainability, she was an artist in residence at Georgia Tech, Atlanta, where she used AI to visualize experiments with fungi that consume plastic.

This exhibition is organized by Telfair Museums and curated by Harry DeLorme, Director of Education and Senior Curator.

The Ball is a suite of 26 collaged lithographs that feature illustrations of costumed characters from an Italian masquerade ball. The collection was created using techniques which are typical of Marcus Kenney's work, such as the recontextualization of found imagery and compositions made of striking yet irreducible elements.

Created in the style of Dadaist collage, Kenney repurposed a set of lithographed illustrations originally published in 1827 by Cucininello and Bianchi of the Royal Printing House in Naples. Masked figures, floating on antique stained paper, occupy theatrical, humorous, and often bizarre compositions. 

Kenney has titled this series of collages “The Ball” as a double reference to the masquerade ball depicted in the original illustrations, and also as a nod to German artist Hugo Ball, one of the founders of the Dada movement. Ball, in his “Dada Manifesto,” stated that the post-World War I art movement “alternated between coherence and absurdity.” Kenney’s simple yet provocative collaboration across two hundred years, between a forgotten Italian illustrator and a contemporary American artist, proves that “what’s old is new again, and what’s finished has yet to begin.” 

Jeremiah Jossim’s recent body of work, moonlight & shadow, stems from a fascination with American history and the landscapes he witnessed on road trips across the country. Drawn to a book of Amish quilting during a recent excursion, Jossim was struck by quilts with names such as “sunshine and shadow,” “triple-chain,” and “wild goose chase,” as well as their remarkable affinity with modernist abstraction. In moonlight & shadow, quilting and painting patterns merge with landscapes in the distant vista, traveling along the edges of many of the paintings, encasing or expanding the geometries and spaces within. This selection of new work, which is Jossim’s first exhibition at Laney Contemporary, builds on his bold palette while extending it towards new horizons grounded in the tradition of craft, landscape, and abstraction.

Jossim notes that quilting and making art can both be forms of survival. For many American women in the 18th and 19th centuries, quilting was the essence of warmth and familial continuity; colorful patterns conveyed information, meaning, and legacy. The quilt is historically linked to healing and memory, to spirituality, durability, and way-finding. Having completed radiation treatment in August, Jossim shares: “This body of work is a difficult one to hold in my hands; it's about being sick, like really sick, and not knowing if you'll see next year.” The quilt and the canvas connect the unseen or the abstract to the tangible, the unknown to the known. “Maybe the quilt is the portal bringing me closer to the other side at a time when I wonder about my own continued existence.”

For Jossim, the twenty-eight multi-sized paintings in moonlight & shadow are dream-like in practice, instinctive, and full of gravitation toward the colors of transition between day and night and back to day again. They call attention to spectrums of time and states of flux. His landscapes are vast, grandiose, and at times lonely. Yet there is a bold hue of hope on the horizon with the anticipation of sunrise. 

I felt the sea at my feet,

the crush of shells

and worried about tiny cuts.

But that other place called with a stiff southern wind,

smelling of bark and willow

cattail and cicada.

I hold on to that tiny golden thread.

That is a future.

Painting has a way of traveling.

Each linseed covered brush is a wish,

an island where I can hear the wind running like horses.

-Jossim 2026

In her debut U.S. museum exhibition, Eva Jospin demonstrates her creative magnitude and the unique nuance of her singular practice. The range of Jospin’s expression fascinates viewers with otherworldly appeal, from the sculpted forests and architectural follies she meticulously carves in cardboard to her richly embroidered landscape tapestries and her most intricate and delicate renderings. The artist’s power is as equally evident in her intimately detailed works as it is in her monumental immersive installations that envelop audiences in their timeless presence and inspire a deep sense of wonder. Whether drawing from Renaissance forebearers or the fantastical worlds of fairy tales, Jospin’s artworks collectively embrace the captivating mysteries of nature and ruins alike with intensive particularity and craftsmanship, encouraging us to contemplate contemporary materials and our place in history too. Together, we experience the whimsy and enchantment of these eternal conversations, with complete certainty of our central role in it all.

Mona Bozorgi (SCAD M.F.A., photography, 2018) uses experimental photographic processes to examine the intersections of representation, objecthood, and gender. Bridging photography, sculpture, and fiber arts, her latest body of work expands on her ongoing series Threads of Freedom, which explores the role of imagery in Iranian women’s self-representation and performance of gender amid broader sociopolitical movements in the country. Printing photographs on silk then unraveling and reassembling them, Bozorgi overlays “selfie” images originally shared on social media of women participating in protests against government mandates enforcing the hijab, or headscarf. The resulting collages, composed of the individual silk strands and mounted within wooden frames reminiscent of daguerreotype cases, mirror the deluge of online imagery presented on cellphones’ boxed screens, meditate on female bodily autonomy and containment, and highlight the intimacy, vulnerability, and impact of public-facing images of oneself. Echoing silk’s unmatched tensile strength, Strain and Strand celebrates the resilience of women who stand strong individually and find great power together.

Personified presents selections from the SCAD Museum of Art Permanent Collection that focus on the human form as a vessel with which to examine common culturally constructed ideas related to identity. The works on view demonstrate the myriad ways artists hybridize, morph, caricaturize, or embellish their figures, imbuing them with characteristics typically unrelated to the body but which ultimately emphasize their humanity.

Exhibiting modes of personification from animals to common objects, the shifting body manifests first through metamorphosis — a theme anchored in historic literary and religious sources — which sees the subject in the process of transformation, typically as a metaphor for broader themes like love, alienation, hidden fears, or growth. These works include Wangechi Mutu’s Homeward Bound (2010), which depicts a figure transmuting into a hybrid animal–machine, an expression of the raw strength of women. Other works explore the notion of the composite, in which the subject is presented as an amalgamation of an array of cultural signifiers as a reflection of the social conditions of the artist’s time, as seen in the images of luxury items that make up Rashaad Newsome’s photographic collaged portrait GAG (2015). Lastly, the adorned body is celebrated in works like Nick Cave’s Drive-By, a freewheeling film in which the artist’s iconic Soundsuits jump, roll, and dance in fluid, pulsating motion. The artist’s extravagant costumes obscure all identifying features of the wearer as well as the resulting inferences the viewer could make based on appearance, offering transcendent, joyful embodiments of empowerment.

SCAD deFINE ART 2026 honoree Laurie Anderson presents All in Your Head, an exhibition that brings together three installations featuring the written word, striking projected images, and the visualization of alternate realities. An internationally lauded avant-garde artist, Anderson has created innovative, transdisciplinary work in a career that spans five decades. She continues to expand the lexicon of performance art and bridge the divides between experimental expression and popular culture. Both arresting and ephemeral, Anderson’s work tackles sprawling contemporary themes like the state of cultural life in the U.S. or anchors itself in age-old narratives like Noah’s Ark. Through her myriad approaches — from filmmaking and live performance to painting, sculpture, digital media, and more — she underscores storytelling, both personal and collective, as a central driving force in her artistic practice. In this exhibition, Anderson traverses time and space, whether by virtually visiting the moon in an immersive VR work or traveling into the recesses of her childhood in a multimedia narrative, questioning what is remembered, what is spoken, and what is possible.

In Psychic Repair, photographer and musician Farah Al Qasimi activates the SCAD Museum of Art’s façade vitrines and an interior gallery through the play of scale and dimensionality. Informed by her girlhood in the UAE and experiences of womanhood in the U.S., Al Qasimi produces highly saturated images that explore rituals of self-presentation and their ties to identity, memory, and belief formation. Across photographic installations and music videos, she layers these images in a style reminiscent of early internet pop-up ads and department store displays, shifting fluidly between analog and digital modes. Patterns, textures, and shadows become conduits for fantasy and phantasm in her documentary photographs, while her music videos transform jump-rope rhymes, spoken poetry, and punk rock songs into prophetic mantras. Throughout the exhibition, the supernatural operates as a metaphor for the unseen, transient forces of contemporary beauty and fashion culture that shape how we see, feel, and behave.

Featuring 15 canvases ranging from 2012 to 2022, Earth Sky on Red Ground is the first museum exhibition in the U.S. devoted entirely to the painting practice of Anish Kapoor, an eminent artist recognized for his peerless international renown. His iconic sculptures in a diverse spectrum of materials often confound the viewer’s perception. Yet Kapoor’s paintings simultaneously emphasize the viscerality of our physical existence and the metaphysical inner worlds we share. The artist has intrepidly accomplished this feat with his expressive technique, characterized by sensuous brushwork and an immersive scale that envelops the viewer in the works’ powerful traction. Kapoor’s canvases feature abstract forms with a forceful gestural boldness that is deftly achieved in thickly impastoed oil paint. The works’ timeless titles convey an almost ritualistic dialogue with the long arc of the medium and our collective history. The immediacy of Kapoor’s approach to painting animates this integral part of his practice, demonstrating its centrality to the truly incomparable creative outpouring of a contemporary master.

Showcasing numerous objects in a range of materials, including metal, stone, wood, polystyrene, and textile, Elements highlights Max Lamb’s versatility as a designer and the thoroughness of his exploration across mediums. Lamb’s boundless creative practice has become one of the most well-regarded of his generation, noted for his ceaseless inventiveness. The forthrightness of his work — and the efficiency of the methods through which he creates it — at times belies his extremely nuanced problem-solving and the meaningful ways he confronts some of the most complex challenges of our era. While the exhibition organizes these works by material to highlight the range and depth of his work, the slippages between each category demonstrate the overarching ethos of an artist who is guided by an unparalleled inquisitiveness that unifies his approach.

In Character explores how contemporary artists draw from the visual aesthetics of animation, illustration, and sequential art to unpack notions of identity, imagine alternate realities, and depict Black life and community. Across the featured paintings, drawings, sculptures, and textile works, the distinctive language of cartoons and comics emerges through flat, outlined forms, shallow picture planes, and exaggerated bodily features.

Works like Trenton Doyle Hancock’s grand superhero narratives and caricatured self-portraits mythologize personal experience and complicate understandings of power, while Gary Simmons’ painted reinterpretations of early Looney Tunes characters interrogate the origins of racialized stereotypes in cartoons. By leveraging the familiarity of animation, the exhibiting artists demonstrate how popular media have historically flattened Black representation, while simultaneously revealing its potential for experimentation and expansion. In Character underscores the power of these aesthetic traditions as both a form of expression and a method for idealization and self-reinvention.

Featured artists
Trenton Doyle Hancock 
Victoria Dugger 
Mark Thomas Gibson 
Arthur Jafa 
Gary Simmons 
Kara Walker 
Qualeasha Wood 

Off the Coast of Paradise: Artists and Ossabaw Island, 1961–Now is the first major exhibition to explore the profound impact of an undeveloped, 26,000-acre barrier island off the coast of Savannah, Georgia, on artists working in the United States. The exhibition will focus on the Ossabaw Island Project (OIP) and Genesis—a pair of revolutionary multidisciplinary residency programs that ran on the island from 1961–1982—and their legacies in its examination of Ossabaw as a site for creative experimentation. Taking its name from a poem written by celebrated poet and former Genesis member Henri Cole, Off the Coast of Paradise will feature the work of internationally renowned artists, past and present, who have considered the island through myriad lenses in their work, including the historical, the environmental, the social, the cultural, and the personal. They include Harry Bertoia, Agnes Denes, Marcy Hermansader, Suzanne Jackson, Ellen Lanyon, Doris Lee, Sally Mann, Michael Mazur, Ross McElwee, Athena Tacha, Betty Tompkins, and Anne Truitt, among many others, as well as a major new commission by Allison Janae Hamilton.

In his M.F.A. thesis exhibition ADAPTIVE BODIES, Alejandro Giraldo presents paintings, prints, sculpture, and a new multimedia installation featuring imagined male-presenting characters whose emotions and contradictions recall the artist’s own experiences with professional life and acts of productivity. Performing familiar actions related to work, the figures become caricatured, contorted, and deformed by physical, psychological, and symbolic pressures, revealing the ways professional structures and expectations shape identity and physical posture. Here, the body functions simultaneously as a pictorial vehicle and an expressive mechanism, acting as a site where tensions, frustrations, and ironies accumulate and find resolution through the gesture of painting.

Across Giraldo’s oeuvre are references to himself, including his own hand, codifying each work as indirect self-portraits and exposing a dichotomy between his two identities — the corporate figure and the painter. By representing both, Giraldo creates a critical distance from which to observe and interrogate these roles, confronting his own contradictions while questioning the structures of success and productivity that shape his personal biography and artistic practice. Revealing the absurdity inherent in contemporary expectations of capacity, ADAPTIVE BODIES asks how we function as sites of constant negotiation — and at what cost.

Opening reception: Friday, March 27, 5–7 p.m.

SIP is Savannah Clay Community’s annual signature exhibition featuring over 200 functional ceramic mugs, cups, tumblers, etc., from clay artists from across the country and many from Savannah as well.

APRIL 10TH - 25TH, 2026

OPENING RECEPTION: FRIDAY, APRIL 10, 6 - 8 PM

In the current era of evolving technological intersections with the body, the coupling of organism and machine is birthing reevaluations on the body’s potential. Drawing from feminist posthuman theory, the work in the exhibition challenges current notions of reproduction, gender, and family structures, suggesting alternative synthetic reimaginings of the body. In the thesis exhibition i don’t know how, but it grew from me, traditional biopolitical structures are dismantled and replaced with constantly exfoliating cyborgian skinscapes. Shifting perspective on gestational labor and the leaky excess of bodily production, this work questions the decisions surrounding biotech, who has the authority to determine how hunman developments are distributed, and how advancements can restructure liberation.

Opening reception: April 17, 6-9pm

Join us in a celebration of the ancient tradition of wood fired ceramics and the dedicated potters of Georgia who continue to uphold the practice.

MAY 16 - JUNE 27, 2026

OPENING RECEPTION: SATURDAY, MAY 16, 5:30-8 PM

CLOSING RECEPTION: SATURDAY, JUNE 27, 5:30-7:30 PM