WELLESLEY, MASS.- In spacious, newly-reinstalled galleries on the fifth floor of the Davis Museum at Wellesley College, the public is invited to see modern and contemporary works of art by well-known artists Willem de Kooning, Lee Krasner, Daniela Rivera, Horace Pippin, and Judith Rothschild, among others, beginning Feb. 6. The galleries have been closed for several years, but now the 2,606-square-foot space will house some notable works as well as some never-before-seen works that are coming out of storage to hang in the larger galleries longterm.

“To select works for the top floor installation, I reviewed over 900 works – mainly paintings and sculptures – in the permanent collection, created over the last century, emphasizing some classics and favorites, but also trying to bring forth things that had never been placed on view, like a fantastic and critical vision of the modern department store by Irving Norman, or a glazed ceramic vessel by studio potter (and former Dadaist) Beatrice Wood,” said James Oles, Adjunct Curator of Latin American Art and Associate Teaching Professor in Art, who curated the new gallery spaces known as Harold and Estelle Newman Tanner Gallery and Lawrence and Ina Lee Brown Ramer Gallery.


Yvette Mayorga, Pinknologic Anxiety (After Francois Boucher, Madame de Pompadour, c. 1755), 2020, Acrylic piping and collage on canvas, Museum purchase, The Dorothy Johnston Towne (Class of 1923) Fund 2024.17a-c. Courtesy of the artist.

Among the paintings and works of art that Dr. Amanda Gilvin, the Davis’s Interim Co-Director, Sonja Novak Koerner ‘51 Senior Curator of Collections and Associate Director of Curatorial Affairs, most looks forward to seeing are: Irving Norman’s Labyrinth (1955); Sonia Delaunay-Terk’s Electric Prisms, (1913) and Judith Rothschild’s Curious Personage (ca. 1947-49). Notable works by artists Olga Albizu, Theo van Doesburg, Roland Dorcely, Yvette Mayorga, László Moholy-Nagy, Magdalene Odundo, and Adrian Piper will also be on view.

The newly reinstalled galleries, dedicated to modern and contemporary art, reflect how faculty teach art across the disciplines at Wellesley College. Instead of a chronological organization, the sections address themes that emerge from the college’s curriculum and the collection’s strengths: Modern Fragments, The Label, An Eye for Materials, Plane and Grid, Dream and Gesture, and Contemporary Art.

In Modern Fragments, select paintings and sculptures suggest just a few of the ways that artists reacted to the radical upheavals that characterized the modern age. A Label reminds visitors to read texts that they encounter in museums critically. Artworks in An Eye for Materials share nothing beyond an experimental embrace of materials.


Daniela Rivera, Small Holbein Pattern Design (Oriental Rug or 552,000 Painted Knots), 2006, Oil on unstretched canvas, Museum purchase, Ina Brown Ramer (Class of 1956) Endowed Fund for Acquisitions and Educational Program Support 2025.11. Courtesy of the artist.

“From the start of this project I wanted to involve students,” Oles said, adding the project’s four student employees wrote wall labels for the galleries and learned about the curatorial process. “They wrote (and signed!) many of the object labels, including those for our 1966 painting by Willem de Kooning, where they came up with three very different interpretations.”

The Davis Museum’s collection is especially strong in post-World War II abstraction from the Americas. Plane and Grid features artists whose primary focus was on precision and calculation, and on grids and systems as governing structures. Meanwhile, Dream and Gesture unlocks personal, emotional, and even unconscious forces. The artists featured in Contemporary Art all remain active in the art world, and the selected works all entered the collection in the past 15 years. They reveal the Museum’s expanding aspiration to represent voices from the entire globe, as well as from diasporic communities in the United States. These contemporary works challenge standard narratives while also forging connections with objects elsewhere in the collection, from all periods.



The gallery restoration was made possible with funds from the Mellon Endowment for Academic Programs, Helyn MacLean Program Fund for Contemporary and South Asian Art, Amos W. Stetson Fund, Mary Tebbets Wolfe ’54 Davis Museum Program Fund, and Wellesley College’s Friends of Art. A label writing workshop with Juening Mao ‘26, Elle Scheffel ‘26, Ruofan Wang ‘27, and Alesia Zhou ‘26, received the generous support of the Art Department.

The Davis Museum is free and open to the public Tuesdays to Sundays, 11 a.m. to 5 p.m. For more information, please call 781-283-2051 or visit https://www1.wellesley.edu/davismuseum/visit/directions.