This exhibition marks the 30^th anniversary of Acconci’s winter-term residency on campus and the 1983 construction of Way Station I (Study Chamber), the artist’s first permanent commission. An internationally celebrated performance and video artist before he came to Middlebury, Acconci went on to found Acconci Studio and has subsequently maintained an active and distinguished career as a designer of public places in this country and abroad.

In 1634 Rembrandt was busy filling commissions as Amsterdam’s most sought-after portraitist. He was also painting religious works that pushed the dramatic stylistic devices of Baroque artists like Caravaggio and Rubens to their theatrical limits. In this print, as in those paintings, the artist presents small figures in a vast, dark setting; he uses gesture to convey drama and spotlighting to focus the viewer’s attention upon it. Consistent with Rembrandt’s contemporary painting, as well, is a high degree of finish, which drew the praise of his contemporaries for its attention to detail, variety of poses, and accuracy of emotion.

The Middlebury College Museum of Art has received a gift from the Serge and Vally Sabarsky Foundation in New York that will establish a three-year initiative to bring to Middlebury a series of exhibitions developed from the Foundation’s extensive collections of German and Austrian art from the period 1890–1940.

In the more than 75 years since their creation, the majority of Edward Hopper’s Vermont works have been shrouded in obscurity, and some have not been on view to the public in nearly fifty years. This exhibition, assembled from museums and private collections throughout the United States, reunites Hopper’s Vermont works and displays them together, in Vermont, for the first time.