Beacon, New York, February 21, 2025 — Dia Art Foundation is pleased to announce Renée Green: The Equator Has Moved, the influential multimedia artist’s first major solo museum exhibition in New York. This landmark presentation at Dia Beacon features Green’s rarely seen paintings and installations from the late 1980s and early ’90s, alongside newly commissioned Bichos and Space Poems (all 2025), and other works reconfigured specifically for Dia. Opening on March 7, 2025, the exhibition inhabits the two vast central galleries and the adjacent corridor gallery, situated at the nexus of Dia Beacon’s floorplan.

“We are honored to be the first New York museum to host a comprehensive presentation of Renée Green’s work. This exhibition underscores the ways in which Green both converses with and expands the aesthetic and intellectual histories that define Dia’s program and are key to her artistic formation. It also extends an engagement that began in 2017 with Green’s participation in our long-running Artists on Artists Lecture Series,” said Jessica Morgan, Dia’s Nathalie de Gunzburg Director.

Over the past four decades, Green has developed a complex, knowledge-based practice that integrates images, texts, objects, and time-based media. Her work traverses the porous boundaries between fact and fiction, public recollection and individual memory, with a focus on site-specificity and cultural circulation. Accumulating new meaning as it travels through varying institutional contexts, Green’s work invites viewers to reconsider narratives of identity, perception, and classification.

At Dia Beacon, the exhibition presents a dynamic interplay between past and present, including foundational bodies of work such as her Color series (1990). This early group of diagrammatic paintings interrogates the politics of color and is brought together here for the first time since its inception. Also on view, Neutral/Natural (1990) is a multimedia installation that deconstructs binary systems of categorization.

Green has suspended from the ceiling a series of new and revisited Space Poems—vibrant, double-sided, text-based banners—in four clusters throughout the central galleries. Incorporating the artist’s own writing alongside a plethora of literary, philosophical, geological, and historical sources, these banners articulate indeterminate relays and relations between text, color, time, and space. The hanging Space Poems are complemented by a new body of 24 wall-mounted variations in enamel, Space Poem #6 (Tracing Excerpt) (2025), displaying the names of vanished gardens and the years and locations of historical maps in verdant chromatic hues.

Further animating Dia Beacon’s expansive galleries, new hybrid configurations of Green’s Bichos (all 2025)—human-scale, multicolored, modular structures for viewing and listening—feature selections from her compendium of moving-image and sound works, functioning at once as sculptures, partitions, and media booths. Additionally, the exhibition reunites Pigskin Library and Peak (both 1991), pivotal installations that critique colonial histories of expedition and displacement and their entanglement with art-historical genres of site, landscape, and Land art.

Encouraging audiences to walk, sit, listen, look up, and read, Renée Green: The Equator Has Moved culminates at the south end of the central galleries. A towering set of fictional coordinates that stretch from east to west along the corridor, Elsewhere? [Wall Version] (2002/25) charts the names of imaginary places drawn from literature, accompanied by the sound work Imaginary Places (A to Z) (2002), a disembodied voice whispering these references amid exquisite musical tones.

“Renée Green’s practice is one of accretive, generative returns—to books, places, cultural figures, and artistic forebearers, as well as her own works and words—closely aligning with Dia’s commitment to artists whose practices unfold over time and in response to site. This capacious exhibition demonstrates how Green’s multidisciplinary work continues to critically engage fundamental formal and cultural concerns, such as color and landscape, language and knowledge, across timelines and locations. It offers a rare opportunity to experience the work’s conceptual, material, and spatial resonances in dialogue with Dia’s institutional history and aesthetic genealogies,” said Jordan Carter, Dia’s curator and co–department head.

The exhibition is accompanied by a comprehensive monograph providing a foundational introduction to the artist’s practice through several distinct yet complementary points of entry, each addressing critical gaps in existing scholarship. Forthcoming in fall 2025, this publication features contributions by Alexander Alberro, Erika Balsom, Carter, Diedrich Diederichsen, Ann Goldstein, James Meyer, and Blake Oetting; edited by Carter and Svetlana Kitto.

Renée Green: The Equator Has Moved is curated by Jordan Carter, curator and co–department head, with Ella den Elzen, curatorial assistant.

Renée Green: The Equator Has Movedis made possible by major support from Teiger Foundation and Terra Foundation for American Art. Significant support by the Andy Warhol Foundation, Every Page Foundation, and Girlfriend Fund. Generous support by the Jacques and Natasha Gelman Foundation and the National Endowment for the Arts. Additional support by Philip E. Aarons and Shelley Fox Aarons and the David Schwartz Foundation, Inc. 

All exhibitions at Dia are made possible by the Economou Exhibition Fund. 

About the artist
Renée Green was born in Cleveland in 1959. In her multidisciplinary practice, she draws on Minimal and Conceptual traditions as well as myriad literary, philosophical, and historical sources to examine perception and memory with consideration of site and time. She graduated from Wesleyan University in Middletown, Connecticut, in 1981, and participated in the Whitney Museum of American Art’s Independent Study Program in New York in 1989–90. Surveys of her work have been held at Musée cantonal des Beaux-Arts de Lausanne, Switzerland (2009–10); Yerba Buena Center for the Arts, San Francisco (2010); and KW Institute for Contemporary Art with daadgalerie, Berlin (2021–22). Extensive solo presentations include those at the Museum of Contemporary Art, Los Angeles (1993); Secession, Vienna (1999); and Carpenter Center for the Visual Arts, Cambridge, Massachusetts (2016–18). In 2008, a retrospective of her films took place at Jeu de Paume, Paris. Her work has been included in numerous biennials, including those at the Whitney Museum of American Art (1993 and 2022), Venice (1993), Gwangju (1997), and Berlin (2001), as well as in Documenta 11, Kassel (2002). A prolific writer, Green has written essays and fiction for magazines and journals such as Collapse, October, Texte zur Kunst, and Transition. She is the author of Other Planes of There: Selected Writings (2014) and the editor of Negotiations in the Contact Zone (2003). Green is a professor at the Art, Culture, and Technology program, School of Architecture and Planning, at Massachusetts Institute of Technology in Cambridge. She lives in Somerville, Massachusetts, and New York.

About Dia Art Foundation
Taking its name from the Greek word meaning “through,” Dia was established in 1974 with the mission to serve as a conduit for artists to realize ambitious new projects, unmediated by overt interpretation and uncurbed by the limitations of more traditional museums and galleries. Dia’s programming fosters contemplative and sustained consideration of a single artist’s body of work and its collection is distinguished by the deep and longstanding relationships that the nonprofit has cultivated with artists whose work came to prominence particularly in the 1960s and ’70s. 

In addition to Dia Beacon, Dia Bridgehampton, and Dia Chelsea, Dia maintains and operates a constellation of commissions, long-term installations, and site-specific projects, notably focused on Land art, nationally and internationally. These include: 

• Walter De Maria’s The New York Earth Room (1977) and The Broken Kilometer (1979), Max Neuhaus’s Times Square (1977), and Joseph Beuys’s 7000 Eichen (7000 Oaks, inaugurated in 1982 and ongoing), all in New York
• De Maria’s The Lightning Field (1977), in western New Mexico
• Robert Smithson’s Spiral Jetty (1970), in the Great Salt Lake, Utah
• Nancy Holt’s Sun Tunnels( 1973–76), in the Great Basin Desert, Utah
• De Maria’s The Vertical Earth Kilometer (1977), in Kassel, Germany 
• Cameron Rowland’s Depreciation (2018)

For additional information or materials, contact: 

(U.S. press inquiries)
Hannah Gompertz, Dia Art Foundation, hgompertz@diaart.org, +1 212 293 5598
Melissa Parsoff, Parsoff Communications, mparsoff@parsoff-communications.com, +1 516 445 5899

(International press inquiries)
Sam Talbot, sam@sam-talbot.com, +44 (0) 772 5184 630