CURRENT EXHIBITION
LATINITUDES 
A Collection of Modern Architecture
Photographs by Leonardo Finotti
Curated by Michelle Jean de Castro
April 2–July 18, 2026
Opening April 2, 6–8 p.m.; gallery hours resume April 3

GALLERY AND BOOKSHOP HOURS
Wednesday–Saturday, 12–5 p.m.
Free admission, no reservations required—ring the doorbell for entry.

EXPO Art Week
Art After Hours
Galleries and Bookshop open late
Friday, April 10, 12–8 p.m.



Image: Facultad de Ingeniería de Minas, Geología y Metalurgia (Faculty of Mining, Geology, and Metallurgical Engineering), Lima, Peru, designed by Walter Weberhofer, 1956–62. Photograph by Leonardo Finotti, 2016. © Leonardo Finotti

UPCOMING EVENTS

In Terra Infecta, Andrea Bagnato traces a political ecology of the Italian landscape. The book, recently published by MACK, uses the lens of health and illness to explore how the modern quest for sanitation shaped Italy's urban and rural landscapes through architecture, demolition, and displacement. The result of a decade of research and fieldwork supported in part by a grant from the Graham Foundation, Terra Infecta recounts histories of dispossession and resistance in Naples, Venice, Milan, and Matera.

Andrea Bagnato is joined by Jennifer Scappettone for a reading and conversation. Drawing from their respective research and writing, Bagnato and Scappettone discuss the long-term markings that fascism, internal colonialism, and modernization have left on the physical environment, and how different narrative forms can help us make sense of ecological change.

Andrea Bagnato is an architect and writer based in Genoa, Italy. He has taught at Piet Zwart Institute, Rotterdam;  the Architectural Association School of Architecture (AA), London; and the Decolonizing Architecture program at the Royal Institute of Art, Stockholm. Previous books include the collective volumes Rights of Future Generations (Hatje Cantz, 2022) and the Graham-funded A Moving Border: Alpine Cartographies of Climate Change (Columbia, 2019).

Jennifer Scappettone works at the confluence of the literary, visual, and scholarly arts, and is professor of literature and faculty affiliate of the Committee on Environment, Geography, and Urbanization at the University of Chicago, where she directs the Environmental Arts+Humanities Lab. She is the author of five full-length books of poetry, translations and prose, including most recently Poetry After Barbarism, The Republic of Exit 43, and Killing the Moonlight: Modernism in Venice.

Presented with support from the Istituto Italiano di Cultura di Chicago.

Image: Marjory Collins, Life in Matera before the evictions, 1950. Photograph. Courtesy Schlesinger Library, Harvard Radcliffe Institute, Cambridge, MA

Friday, April 10, 12–8 p.m.

As part of EXPO ART WEEK, the Graham Foundation galleries and bookshop will be open late on Friday, April 10, with extended hours until 8 p.m. to explore Latinitudes: A Collection of Latin American Modern Architecture, with photographs by Leonardo Finotti and curated by Michelle Jean de Castro.

Click here to explore the EXPO ART WEEK guide and discover galleries and institutions participating across the city.

Kari Watson premieres Fuse, a new solo performance for analog modular synthesizers and programmed drum machines. The piece plays with clock function and tempo ramps, moving between analog and digital environments as Watson shapes the sound in real time.

Fuse engages a quadraphonic speaker array in tandem with a spatial audio sculpture of unhoused speaker cones distributed through the room. A custom synth garment—made in collaboration with visual artist and designer Av Grannan—houses patch cables and an XLR snake that tie Watson’s body into the setup. Modular instruments sit atop custom ceramic tables made with visual artist and ceramicist Paige Schlosser, designed so cables can be woven in and around the surfaces.

Watson takes theorist Donna Haraway’s cyborg as an origin point for the project: a figure of synthesis and hybridity, where humans and machines are enmeshed and the boundaries between body and environment are continually unsettled. Fuse makes that unsettled boundary audible, asking where the performer ends and the surrounding system begins.

Kari Watson (b.1998, Philadelphia, Pa.) is a composer, performer, and intermedia artist working across contemporary concert music, electroacoustic composition, live performance, and installation. As a performer on analog synthesizers, Watson integrates custom spatialization systems built in Max/MSP with multi-speaker arrays, foregrounding tactility and drama in spatial sound.

Watson’s work has been presented at Darmstädter Ferienkurse, Darmstadt; Donaueschinger Musiktage, Donaueschingen; MINU Festival for Expanded Music, Copenhagen; Les Écoles d’Art Américaines de Fontainebleau, Fontainebleau; the Composers Now Dialogues Series; Ravinia Festival’s Breaking Barriers Festival; and Frequency Festival, Chicago, among others. Additional presentations have taken place at KM28 and Richten25, Berlin; The Horse Hospital and IKLECTIK Art Lab, London; Werkstatt für Improvisierte Musik Zürich; Khimaira, Stockholm; the Chicago Cultural Center; and the International Museum of Surgical Science.

Collaborators include Jennifer Torrence, Maya Bennardo, Sarah Saviet, Yarn/Wire, Collective Lovemusic, Eduard Teregulov, Ensemble Dal Niente, TAK Ensemble, MIVOS Quartet, Line Upon Line, and Quatuor Diotima. Recent projects have also been presented through Roulette; Experimental Sound Studio; and International Anthem’s 11×11 Series with Katinka Kleijn.

Recordings include enclosures (Sawyer Editions, 2025) and VISTAS, with Katinka Kleijn (Elektramusic, 2025). Watson received the 2023 Kranichstein Music Prize for Composition from the Darmstädter Ferienkurse and a 2022 Charles Ives Scholarship from the American Academy of Arts and Letters. Watson is currently a Ph.D. candidate in music at the University of Chicago.


Photo: Eduard Teregulov

Catherine Seavitt examines two rarely addressed moments in the career of Roberto Burle Marx (1909–1994): his absence from the initial planning and execution of Brasília in 1960, and his later affiliation with Brazil's military dictatorship as a member of the Conselho Federal de Cultura in the late 1960s and early 1970s. For Seavitt, any discussion of Brasília and Roberto Burle Marx must acknowledge these episodes. Burle Marx executed three significant landscapes for the military government's new ministries in Brasília, including two ministry palace gardens at the head of the monumental axis and a grand triangular plaza, Praça dos Cristais, at the army headquarters in the military sector, all in collaboration with architect Oscar Niemeyer. Commissioned in 1967 by the very Ministério do Exército that controlled the regime, the Praça dos Cristais was envisioned as a vast military parade ground, facing Niemeyer's monumental complex of the Quartel-General do Exército and inaugurated in 1973.

This talk draws on Seavitt's book Depositions: Roberto Burle Marx and Public Landscapes under Dictatorship (University of Texas Press, 2023), supported by a 2017 grant from the Graham Foundation, and is presented in conjunction with Latinitudes: A Collection of Latin American Modern Architecture by Leonardo Finotti, on view at the Graham Foundation through July 18, 2026.

Catherine Seavitt is Meyerson Professor and Chair of the Department of Landscape Architecture at the University of Pennsylvania’s Stuart Weitzman School of Design. She is the faculty codirector of the McHarg Center for Urbanism and Ecology and creative director of the department’s LA+ Journal. A registered architect and landscape architect, she is a fellow of the American Society of Landscape Architects, the American Institute of Architects, the Council of Educators in Landscape Architecture, and the American Academy in Rome. Her research explores urban landscapes, post-industrial sites, toxicity, and inventive plant knowledge, with a focus on actionable responses to the climate crisis and decarbonization. Seavitt’s books include Depositions: Roberto Burle Marx and Public Landscapes under Dictatorship (University of Texas Press, 2023); Structures of Coastal Resilience, with Guy Nordenson and Julia Chapman (Island Press, 2018); and Four Corridors, with Guy Nordenson and Paul Lewis (Hatje Cantz, 2019).


Image:  Roberto Burle Marx, aerial view of the Crystal Plaza garden for the Ministry of the Army with Oscar Niemeyer's Army Headquarters complex seen beyond, 1972, Brasília, Brazil. Courtesy of the Arquivo Público do Distrito Federal.

For more information on the exhibition, Latinitudes
A Collection of Latin American Modern Architecture, click here.

PREVIOUS POSTS