The Equator Has Moved

Renée Green's multidisciplinary practice juxtaposes archival, documentary, and literary fragments to probe unstable boundaries between fact and fiction, public recollection and personal memory.

Why go

Green's foundational multimedia installations critically reconsidering site, landscape, and Land art return to view in the U.S. for the first time in over three decades; the show reunites her complete *Color* series from the early 1990s alongside new *Space Poems* banners and *Bichos* modular units functioning as provisional media architectures.

What to expect

Two expansive central galleries and perpendicular corridor filled with chronologically defiant presentations mixing historical and newly commissioned work—wall and ceiling-mounted installations, text-based banners, enamel variations, and multicolored geometric units housing moving-image and sound selections.

Things to know

• First major solo museum presentation in New York since the late 1980s.
• *Color* series from early 1990s examines color as categorization tool, socially coded value system, and perceptual device.
• Foundational multimedia installations return to U.S. view for first time in over 30 years.
• New *Space Poems* series of vibrant text-based banners suspended along corridor expanse.
• *Bichos*—multicolored modular geometric units—distributed throughout galleries as provisional media architectures.
• Curated by Jordan Carter and Ella den Elzen at Dia Beacon.