Dimensions Variable

Liene Bosquê: What Still Stands at The Wolfsonian–FIU and curated by Luna Goldberg. On view through September 6, 2026.

What persists after buildings are lost? What Still Stands explores architectural legacy, bringing museum objects into conversation with new work by Miami-based visual artist Liene Bosquê. Having researched the Wolfsonian collection in 2024 as the institution's first Creative Fellow, Bosquê focused on architectural drawings and decorative elements from the Arts and Crafts, Art Deco, and Art Nouveau styles, including a Hector Guimard cast-iron balustrade the artist exposed to sun to capture haunting afterimages. Presented with several of Bosquê's other architecturally inspired works, these cyanotypes invite questions about permanence and impermanence in built spaces.

The installation is presented in the Bridge Tender House (Josephine Baker Pavilion) outside the museum and on the 2nd floor—where original vault doors, relics of the Wolfsonian building's storage warehouse past, recall our site's earlier use and remind us of architecture's lasting power and many lives.

Liene Bosquê Luna Goldberg The Wolfsonian-FIU

Frances Trombly: What Holds

Opens May 30, 2026
Shoshana Wayne Gallery, Los Angeles

Shoshana Wayne Gallery is pleased to present What Holds, a solo exhibition by Miami-based artist Frances Trombly. Marking Trombly’s return to the gallery following her 2016 solo exhibition, this body of work continues her investigation into weaving, labor, and the structures that make visibility possible.

Writing in the Los Angeles Times, Leah Ollman described Trombly’s sculptures, weavings, and installations as “confident trespassers,” works that “meander into all sorts of territory, straddling genre lines and tunneling through hierarchical divides.” Nearly a decade later, that trespass has become more deliberate. In What Holds, the works resist a fixed category. They move across painting and sculpture, appearing as supports, tools, remnants, and propositions. The works seem to have arrived from the studio still carrying the pressure of their own making. At the center of the exhibition is the warp, the longitudinal threads that carry tension and give structure to woven cloth. Trombly brings this underlying system forward, where it operates as both subject and support. Warps hang exposed. Textiles slip from wooden frames. Handwoven surfaces are suspended, layered, or left partially formed. The conditions of making are not concealed or smoothed over. They remain. Process is not a step toward something else. It is the work.

Her structures recall looms, stretcher bars, warping boards, and scaffolds. They hold and distribute tension. They point toward painting while refusing the stability of the canvas. They remain tied to the logic of cloth even as they occupy space. In What Holds, Trombly returns painting to its material condition: a woven support shaped by tension, labor, and time.

Frances Trombly Shoshana Wayne Leah Ollman Los Angeles Times