January 6 – February 25, 2017
Opening Reception: January 12th, 5:30 – 7:30 pm

Haines Gallery, San Francisco, CA

In Architectonic Forms, Waterston draws directly from devotional architectural structures such as Renaissance altarpieces, confessional screens and Gothic partitions, reinterpreting them as magnetic and even menacing painterly objects. Familiar religious iconography is transformed into apocalyptic landscapes, gestural flourishes and paint-scarred surfaces characteristic of Waterston’s work. (more…)


December 1, 2016 – April 2, 2017

Alphawood Gallery, Chicago, IL

Darren Waterston was selected to be included in this groundbreaking exhibition that underscores the deep and unforgettable presence of HIV in American art. It introduces and explores the whole spectrum of artistic responses to AIDS, from the politically outspoken to the quietly mournful, surveying works from the early 1980s to the present.


October 28, 2016 – February 6, 2017

Brattleboro Museum and Art Center, Brattleboro, VT

A celebration of paint, Luscious investigates the myriad ways in which artists make conscious statements of painterly intent. Fully in command of their medium, these artists believe in the beauty of paint itself. They explore and exploit its materiality, pushing technique to the edge. In some paintings the hand of the artist is evident in open, energetic brushwork and expressive mark making. In others the smooth, precise surface leaves the viewer wondering how the work was made.


May 16, 2015 – June 4, 2017

Smithsonian Institution, Freer|Sackler Galley

This exhibition features Filthy Lucre, an immersive installation that reimagines James McNeill Whistler’s famed Peacock Room as a decadent ruin collapsing under the weight of its own creative excess. The centerpiece of a changing series of installations that highlight the complicated tensions between art and money, ego and patronage, and acts of creative expression in the nineteenth century and today. The third in this series, Chinamania, features work by contemporary ceramic sculptor Walter McConnell and explores the enduring craze for Chinese blue-and-white porcelain in the West.