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February 2027
TBD
The General’s Residence, Upper Fort Mason (enter at Bay and Franklin Streets), Fort Mason Center for Arts & Culture, San Francisco
TBD
Fort Mason Center For Arts & Culture:
FortMason.org
(415) 345-7500
contact@FortMason.org
Sign up today for the latest news from Fort Mason Center For Arts & Culture.
Two-Three Sentence Description with Links as appropriate. Should be in user focused language highlighting the main attractions of the event. [Placeholder text to be replaced with real text when available.]
[Placeholder text to be replaced with real text when available.]
Long Description of event including all relevant information. Should include all relevant information but remain concise and user friendly. Paragraphs should be approximately 2-4 sentences max and there should be 3-5 paragraphs at the most.
Refrain from repeating information that can be found in the Event Title, Event Details or elsewhere on this page.
Please use orange text for headers, black text for main body text.
All Block padding and margins should be small.
Block backgrounds should alternate between white and grey.
Image Gallery Should include a selection of the 5-7 best images. Delete if none. Delete Gallery in menu bar if none.
Press Links should include any articles about the event, presented with the most prominent articles first. Delete if none. Delete Press in menu bar if none.
Related events should be limited to future events that are related to or attract a similiar audience. Delete if none. Delete related in menu bar if none.
January 1 through March 7, 2027
Days TBD
Times TBD
Gallery TBD, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
FREE
Fort Mason Center For Arts & Culture:
FortMason.org
(415) 345-7500
contact@FortMason.org
Sign up today for the latest news from Fort Mason Center For Arts & Culture.
Celebrate the closing weekend of the exhibition PLEASE. STAY. TOUCH. Jess Curtis Experiments with GRAVITY with this re-imagining of Ice Car Cage (1997), a ground-breaking performance work by Jess Curtis, Keith Hennessey, and Jules Beckman. This new piece concludes GRAVITY’s OUT/OF|THE\FOG season foregrounding company founder Curtis’ life and legacy.
August 14 to 16, 2026, 8:00 p.m. [See “Plan Your Visit” below for dates, times, details, tickets, and ASL and audio intepretation services.]
Instigated by artist and GRAVITY Co-Artistic Director Gabriele Christian, ICE. CAR. RAGE. re-imagines the actions of the 1997 Ice Car Cage – a now-legendary work made for the post-industrial city and so performed in abandoned parking lots. Artists jose e. abad, Styles Alexander, and Clarissa Rivera Dyas re-envision roles created by Jess Curtis, Keith Hennessy, and Jules Beckman and re-envision key elements from the original work: an autonomous car; an ice block; a dog cage.
Ice Car Cage saw Curtis, Hennessy, and Beckman alternately caging and releasing one another; treating the car as a partner for contact improvisation; and piling body to body onto a melting ice block.
Returning as ICE. CAR. RAGE. in 2026, abad, Alexander, and Rivera Dyas create new relationships within the piece. Old elements shift through contemporary fears.
Perhaps the cage and the ice block summon ICE the agency; spotlight deportation and state violence against Black and Brown people; or voice the rage that the title finally says out loud.
Like the PLEASE. STAY. TOUCH. exhibition, dance movements pose questions across generations – and bodies in the present raise new avenues to any answers.
ABOUT GRAVITY
GRAVITY creates liberatory performance works and expands radical, intersection-al access and services within the San Francisco Bay Area performing arts ecosystem and beyond. GRAVITY uplifts arts workers and audiences at the margins. GRAVITY center experimental artists, QTBIPOC, disabled and blind/low vision communities to further the San Francisco Bay Area’s legacy of radical collisions, queer place-making, and inclusive loud, bold, body culture. Initiated in 2000 by the late Jess Curtis, the organization now practices shared leadership with a queer, intergeneration-al, mixed-race creative team. GRAVITY-SF.org
Gabriele Christian (ICE. CAR. RAGE. Director) is an Oakland, CA-based conceptual artist and descendant of stolen folk experimenting within somatic practices, language, performance composition, video production, curation, and community arts facilitation – centering BlaQ (Black and Queer) experience, vernaculars, and aesthetics as wellsprings for radical futurity. They are a founding member of San Francisco Bay Area performance collectives RUPTURE, OYSTERKNIFE, and BlaQyard. Born in Harlem, NYC, they have worked for 13 years as a professional performance artist and director in San Francisco, New York City, Berlin, Amsterdam, Vienna, and beyond. Prominent residencies, performances, and roles include at: BAMPFA Black Life Guest Curator (2025-2026), Zaccho Studio Black Futures Fellow and AIR (2025-2026), Fort Mason Center For Arts & Culture (2025), Frascati (2025), Grace Cathedral (2024), Watermill Center (2024), ATLAS at ImpulsTanz (2023), Surge: Explorations In Afro-Futurism at the University Of California, Santa Cruz (2022), CounterPulse (2019), and This Will Take Time (2017). They currently serve as GRAVITY’s Co-Artistic Director. They began working with GRAVITY in 2017 as a frequent collaborator, curator, audio describer, and now as Co-Artistic Director.
jose esteban abad (they/them) is an Afro-Carribean Filipinx multidisciplinary choreographer,vertical dancer, DJ, and curator based in unceded Ramaytush Ohlone Territory (San Francisco). Their work explores the complexities of identity at the intersection of gender, sexuality, class, race, and geography. Rooted in collaboration and improvisation as tools of resistance and liberation, abad’s work centers QTBIPOC experimental collective process-based practices of becoming and re-membering to highlight the most intelligent technologies that exist in this world – bodies, ancestral wisdom, and nature. They are the Co-Director of Community and Curation at Bridge Live Arts.
Styles Alexander is a trans-disciplinary performance artist working across playwriting, choreography, film, performance, and stage design. They studied choreography and contemporary performance at Boston Conservatory and have collaborated with artists including Maurya Kerr, Andrea Miller, Gerald Casel, and RUPTURE.
Styles Alexander (continued).
Alexander’s original works include dance theater shows REPOSSESSION and 50leven, as well as TarNation, a new work currently in development with support from the Zellerbach Family Foundation and the Kenneth Rainin Foundation. Rooted in mythology, American folklore, ritual, and the surreal, Styles’s work creates expansive theatrical worlds where humor and spectacle illuminate deeply human questions. Through a choreographic approach to storytelling, they explore identity, inheritance, spirituality, and the ways ordinary people become mythic.
Clarissa Rivera Dyas is a Black, Filipinx movement artist, choreographer, and arts producer rooted in the San Francisco Bay Area on Ohlone land. Her practice treats the artistic landscape as a site for optimistic, futurist world-building, upholding non-hierarchical, anti-capitalist models centering rest, collective care, play, and de-colonial art making. They are a Co-Director of ROT Festival, serve on the Queering Dance Festival Steering Committee, and perform with Flyaway Productions, Embodiment Project, Zaccho Dance Theater, Sara Shelton Mann, GRAVITY, and Keith Hennessy. Clarissa is a co-conspirator with black, queer artists in RUPTURE (2021) who premiered DIASPORADICA at Fort Mason Center For Arts & Culture in August 2025.
They have had the honor to be a company member of Robert Moses’ Kin Productions and have performed in works by Lenora Lee Dance, Megan Lowe Dances, OYSTER-KNIFE, Sarah Crowell, and many others. They have performed throughout the U.S. such as in New York, Jacob’s Pillow in MA, Seattle, Portland, New Orleans and internationally in Berlin. They have presented work in REYES Dance, Dance Thrill Fest (2021, 2026), Dresher Ensemble Artist Residency (2022), Queering Dance Festival’s FROLIC! (2023), KH FRESH Festival (2024), Dance Up Close East Bay (2025), PUSHfest (2025), NAKA Dance Theater’s LAIR – Live Arts in Resistance (2026), San Francisco Aerial Arts Festival (2026) and in the Black Choreographers’ Festival in 2020, 2025, and 2026. They were awarded Dance Magazine’s “25 to Watch” and received ImPulsTanz’s danceWEB Scholarship in 2024. Clarissa works as an Audio Describer for GRAVITY Access Services and is currently a Zaccho Dance Theatre Artist in Residence.
Friday, Saturday, and Sunday, August 14 to 16, 2026 TICKETS
ASL Interpretation: August 14.
Audio Description: August 15.
Please indicate in ticket purchase if using these access services.
All shows 8:00 p.m. to 9:00 p.m.
(Box Office opens 7:30 p.m.)
Lot 1, in front of the Festival Pavilion, Pier 3, and next to Building E, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
Jess Curtis/GRAVITY
GRAVITY-SF.org
info@Gravity-SF.org
(415) 322-8320
$20 to $100; FREE Community tickets are available (General Admission seating)
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Haines Gallery presents The Shape Of Looking, a group exhibition bringing together three abstract painters – Rebekah Goldstein, Ricardo Mazal, and David Simpson – whose practices draw from associative and perceptual shifts, engaging color, material, and process as primary vehicles for meaning.
Working with distinct concerns and sensibilities, each artist approaches abstraction as an open field shaped by perception, memory, and the physical properties of their chosen media. Goldstein paints playfully charged, shaped canvases. Mazal limns meditative, research-driven paintings. Simpson creates light-activated Interference series.
The works on view invite sustained looking, revealing themselves over time. Together, these artists foreground abstraction as a dynamic mode of inquiry – one that remains deeply connected to both the perceptual world and lived experience.
Rebekah Goldstein (b. 1982, San Jose, CA; lives and works in San Francisco) creates vibrant abstract paintings that emerge through an iterative process of layering, reworking, and redefinition. Drawing on autobiographical, art historical, and architectural references, Goldstein’s compositions develop an internal logic as they are created. Her shaped canvases, which began as a meditation on her own body’s changes during pregnancy, have grown into complex studies of form, line, and negative pace. New works, such as “Tell Me Like You Mean It” (2026), feature loosely interlocking shapes that recall early 20th-century movements such as Constructivism and Cubism, while their softened geometry and rounded contours evoke later design languages associated with mid-century modernism and 1970s supergraphics. Combining saturated color with improvisational gesture, Goldstein’s paintings invite viewers to navigate the relationship between her highly gestural, painterly surfaces and the emphatic objecthood of the painting itself.
Ricardo Mazal’s (b. 1950, Mexico City; lives and works between Mexico City and Santa Fe, NM) abstract paintings invite viewers to contemplate the intersections between place, memory, and the metaphysical. Well-known for works inspired by sacred sites and traditions across cultures – from the villages of his native Mexico to Germany’s Black Forest and Mount Kailash in Tibet – Mazal’s luminous, layered surfaces evoke geological strata, dappled light filtered through tree branches, and the icy peaks of snow-capped mountains.
Ricardo Mazal (continued). Grounded in firsthand engagement with these locations, Mazal’s process often begins with pilgrimages resulting in photographic studies that are translated into tactile, atmospheric paintings. In The Shape of Looking, Mazal presents new works that develop the gestural lines of his earliest paintings into more resolved compositions. These are presented alongside recent works on hand-made silk panels, created in collaboration with Zapotec artisans from San Pedro Cajonos, Oaxaca, where traditions of silkworm cultivation and natural dyeing have been passed down through generations.
David Simpson (b. 1928, Pasadena, CA; lives in Berkeley, CA) is a pioneering figure in San Francisco Bay Area abstraction, whose practice has remained deeply committed to the perceptual effects of color and light. Exploring a diversity of approaches since the 1950s, his work bridges minimalism, hard-edge abstraction, and the California Light and Space movement, forming a singular and sustained exploration of painting’s material and optical possibilities. Since the 1980s, Simpson has developed a highly refined approach using interference pigments – paint that shifts in hue and depth depending on the viewer’s position and ambient light. While often appearing monochromatic at first glance, these works reveal subtle chromatic variations that unfold over time, inviting close, sustained attention. Across decades of experimentation, Simpson’s practice reflects a persistent curiosity and a desire to expand the limits of his medium
Friday, July 10, 2026 through Saturday, September 5, 2026
Tuesday through Saturday, 10:30 a.m. to 5:30 p.m.
Opening Reception: Friday, July 10, 2026, 5:30 p.m. to 7:30 p.m.
Building C, First Floor, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
FREE
Haines Gallery:
HainesGallery.com
(415) 397-8114
art@HainesGallery.com
Rebekah Goldstein:
RebekahGoldstein.com
AnotherGoldstein@gmail.com
Ricardo Mazal:
RicardoMazal.com
julia@RicardoMazal.com
David Simpson:
HainesGallery.com/artists
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The exhibition PLEASE. STAY. TOUCH. Jess Curtis Experiments with GRAVITY includes an Activation Stage led by artists-in-residence whom Curtis mentored. Each artist serves as a curator-facilitator-performer for events, performances, and happenings that engage deeply with Curtis’s legacy and archive. Each artist presents a program that also extends Curtis’s commitment to inclusive, innovative performance practice and embodied presence.
Wednesday, July 29, 2026
after the world, a gesture\ (work-in-progess showing) with jose e. abad and Nik Kniehase
5:00 p.m. to 6:00 p.m. Store House Gallery
See Reservation link below
An Improvisational Performance Experiment performed by jose e. abad and accompanied by the sonic landscape of Nik Kniehase – after the world, a gesture\ is an improvised solo embodying the ruins left behind and the world we build around them.
Inspired by the writing of philosopher Frederico Campagna, abad explores Campagna’s idea that “worlds” aren’t natural or given, but are held together by cosmological stories that eventually lose their ring of truth and significance for the living, at which point the worlds they sustained disintegrate, leaving ruins behind, out of which new and unrelated worlds emerge
Wednesday, July 29, 2026 (continued). In the wake of the loss of Jess, Shakiri, and others dear to abad, the artist here explores the ephemerality of dance and its connection to lineage; they construct a bounded world of time, space, and possible relation for the duration of the piece, a bounded world that then dissolves the moment the performance ends.
Friday, July 31, 2026
“Rehearsing Others” hosted by jose e. abad; audio description by Gabriele Christian
4:00 p.m. to 6:00 p.m. Store House Gallery
See Reservation link below
This afternoon movement workshop explores some of the tools and scores abad used to develop after the world, a gesture\, their July 29 work-in-progress performance that activated concepts around social improvisation, revolutionary imagination, and the idea that other worlds are made through practices, myths, and collective embodied acts.
jose esteban abad (they/them) is an Afro-Carribean Filipinx multidisciplinary choreographer, Vertical Dancer, DJ, and curator based in unceded Ramaytush Ohlone Territory (San Francisco). Their work explores the complexities of identity at the intersection of gender, sexuality, class, race, and geography. Rooted in collaboration and improvisation as tools of resistance and liberation, abad’s work centers QTBIPOC experimental collective process-based practices of becoming and re-membering to highlight the most intelligent technologies that exist in this world – our bodies, ancestral wisdom, and nature.
jose e. abad (continued). They have performed and taught nationally and internationally in the Philippines, Palestine, Mexico, and Europe, individually, and in collaboration with Ishmael Houston Jones, Alleluia Panis, Joanna Haigood, Anne Bluethenthal, Keith Hennessy, Sara Shelton Mann, Skywatchers, Jess Curtis/GRAVITY, RUPTURE, Bandaloop, TRY, KulArts, and are the Co-Director of Community and Curation at Bridge Live Arts.
Nik Kniehase was willed back into existence as a necessity. Inhabiting Earth, they search for the vital noble spirits hiding in plain sight. Together, they plot meditative and ecstatic coordinates, from which the incomprehensible may be allowed to emerge.
GALLERY
Wednesday, July 29, 2026
Satruday, July 31, 2026
Wednesday, 5:00 p.m. to 6:00 p.m.
Saturday, 4:00 p.m. to 6:00 p.m.
The Storehouse, Building D, First Floor, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
FREE to $10 sliding scale
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The exhibition PLEASE. STAY. TOUCH. Jess Curtis Experiments with GRAVITY includes an Activation Stage led by artists-in-residence whom Curtis mentored. Each artist serves as a curator-facilitator-performer for events, performances, and happenings that engage deeply with Curtis’s legacy and archive. Each artist presents a program that also extends Curtis’s commitment to inclusive, innovative performance practice and embodied presence.
Saturday, July 18, 2026
Pitched Rendering
4:00 p.m. to 5:00 p.m. Store House Gallery
See below for reservation link.
Abby Crain invites movement artist Tiffany Taylor and sound artist Sheldon Smith to join her in a live sonic/vocal transcription of the Please. Stay. Touch. exhibition.
Sunday, July 19, 2026 – Arion Press Collaboraton
“The Book of Apparitions: navigating absence through objects” with Lorena Marín and Erasmo Pantoja
1:00 p.m. to 5:00 p.m.
See below for reservation link.
“The language of the dead,” writes Haytham El-Wardany, “is that of the tiniest imperishable life forms, persistently sending signals, even from beneath the earth.” Writing can be an extension of the body, and also a form of reading, finding ways to connect with what is missing, to invoke apparitions. What objects around us can help us read the signals from these “imperishable life forms?” How can we connect with what is no longer present?
Marin and Pantoja invite participants to bring an object through which they feel the presence or signals of someone or something missing from this world.
In bringing our attention to these objects, participants create writings and drawings that explore relationships with absence. Mourn the loss of loved ones by making a special book to honor them.
Friday, July 24, 2026
sublunary, sublunary, sublime, sublime with Abby Crain and Styles Alexander; audio description by Rachael Dichter
7:00 p.m. to 8:00 p.m. Store House Gallery
6:00 p.m. to 7:00 p.m. Curator tour with Seth Eisen and LisaRuth Elliott
NOTE: Fort Mason Night Market happens 5:00 p.m. to 10:00 p.m. campus-wide; limited parking
See below for reservation link.
Abby Crain writes, “The body is thinking this through – both muddy and astral. Durational performance collaboration.”
Saturday, July 25, 2026
gravity is a field; i move beside you with Abby Crain
4:30 p.m. to 5:30 p.m. Store House Gallery
A score for multiple performers
See below for reservation link.
Abby Crain writes, “this is only a score // this unfolds over time // particulate matter // this is not a reduction // we are on the edge of the ocean // the day becomes night // the night opens up.”
Abby Crain (she/her) “works through transposition of the processes of dancing / dance making / the studio / performance making, into the practice of the essay / the poem / the story / the classroom, and vice versa.” Her work is an ongoing, multidisciplinary effort to take note of / recognize that which is perceived or awakened via sensation, experience, memory, and dreams through formats of writing, dancing, reading, pedagogy, and performance.
Tiffany Taylor is a blind, queer interdisciplinary performer. She is passionate about performance as a tool for curious exploration and exploring curiosity. Through singing, dance, sensation, and perception, she challenges ableist perspectives surrounding performance spaces and questions the value placed on non-normative bodies within them. She has performed with GRAVITY in Into the Dark and (In)-Visible in both San Francisco and Berlin. Tiffany holds a B.A. in Theater and serves on the Board of Directors for GRAVITY. She also works as an Audio Description and Accessibility Consultant.
Tiffany Taylor (continued). She has been seen as a performer and collaborator in the pieces (In)Visible and Sight Unseen with GRAVITY. Taylor serves on the Board of Directors for GRAVITY and works as a Visual Access Consultant for GRAVITY Access Services. She frequently consults on audio description and training for venues working to make their spaces more accessible to blind or low-vision people.
Lorena Marín is an educator and anthropologist from Colombia, currently working as a doula in the San Francisco Bay Area.
Erasmo Pantoja is a writer, translator, and bookmaker from Colombia. Founder of Biblioteca Popular Bruce Lee, a wandering, dissipating library making handcrafted books since 2016. Pantoja is currently based in Oakland, CA.
Styles Alexander (they/them), a Boston Conservatory graduate and movement artist, creates choreographic work that reimagines and communicates with history through fantasy, afro- futurism, and fugitivity.
GALLERY
Saturday, July 18 and 25, 2026
Sunday, July 19, 2026
Friday, July 24, 2026
Saturday, 4:00 p.m. to 5:00 p.m. and 4:30 p.m. to 5:30 p.m.
Sunday, 1:00 p.m. to 5:00 p.m.
Friday, 6:00 p.m. to 8:00 p.m.
The Storehouse, Building D, First Floor, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
FREE to $10 sliding scale
Abby Crain:
Abby-Crain.com
Tiffany Taylor:
Erasma Pantoja:
Biblioteca Popular Bruce Lee
Styles Alexander:
Rachael Dichter:
Sign up today for the latest news from Fort Mason Center For Arts & Culture.
The exhibition PLEASE. STAY. TOUCH. Jess Curtis Experiments with GRAVITY includes an Activation Stage led by artists-in-residence whom Curtis mentored. Each artist serves as a curator-facilitator-performer for events, performances, and happenings that engage deeply with Curtis’s legacy and archive. Each artist presents a program that also extends Curtis’s commitment to inclusive, innovative performance practice and embodied presence.
Wednesday, July 1 , 2026
“Bodies of Work: Bay Area Kink and Queer Conversation” with Xandra Ibarra, Annie Sprinkle, Beth Stephens, and Maria Silk
6:00 p.m. Store House Gallery walk-through
7:00 p.m. Talk in Fire House
See Reservation link below
Maria Silk invites legendary artists, collaborators, and Ecosexual co-founders Annie Sprinkle and Beth Stephens to join Oakland, CA-based artist Xandra Ibarra in a conversation about their own practices, rooted in the San Francisco Bay Area’s rich history of experiments in sexuality, performance, and art.
Saturday, July 11, 2026
Screwball (work-in-progress showing) featuring Maria Silk
3:00 p.m. to 4:00 p.m. Store House Gallery
See Reservation link below
Maria Silk performs a work-in-progress version of her new solo Screwball. Inspired by the 1973 text The Screwball Asses by Christian Maurel (originally published anonymously as Les culs énergumènes), the piece explores the relationship of sexuality and desire to systems of domination.
Maria Silk (b. 1993) is an artist based in San Francisco. Centered on performance, her practice examines themes of collectivity and friction within queer and trans life as well as received narratives around queer history and identity.
A 2017 danceWEB Scholar at ImPulsTanz, Silk has shown work locally and internationally at the Berkeley Art Museum, the Cantor Center for the Arts, CounterPulse, Slash, Southern Exposure, Fierce! Festival (Birmingham, U.K,), and Improspekcije (Zagreb, Croatia). She is known as a very good sport.
Wednesday, July 1, 2026
Satruday, July 11, 1026
Wednesday, 6:00 p.m. to 8:00 p.m.
Saturday, 3:00 p.m. to 4:00 p.m.
The Storehouse, Building D, First Floor and the Firehouse, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
FREE to $10 sliding scale
Maria Silk:
MariaSilk.com
Miss.Silk.Worm@gmail.com
Annie Sprinkle and Beth Stephens:
SprinkleStephens.UCSC.edu
AnnieSprinkle.org
ElizabethStephens.org
EarthLabSF.org
BethStephens@me.com
info@EarthLabSF.org
SprinkleStephensFilms@gmail.com
BethAndAnnie@SexEcology.org
Xandra Ibarra:
XandraIbarra.com
LaChicaBoom@gmail.com
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SF Camerawork and Haines Gallery collaborate on a major solo exhibition by John Chiara. The presentation at SF Camerawork celebrates the San Francisco photographer through landmark works rarely seen by the public.
For summer 2026, SF Camerawork and Haines Gallery present a solo show featuring major work by an acclaimed San Francisco Bay Area photographer. John Chiara is an artist whose practices are deeply rooted in the history of photography while continually expanding the medium’s possibilities.
Presented in SF Camerawork’s gallery at Fort Mason Center for Arts & Culture, John Chiara: Bay Panel centers on ambitious, large-scale works that exemplify the artist’s singular approach to image-making. The exhibition celebrates SF Camerawork’s central role within the SF Bay Area photography community and its decades-long commitment to supporting artists whose practices have challenged and redefined the field.
For Chiara, SF Camerawork has played an important role early in his artistic development, providing support and visibility at pivotal moments in his career. The exhibition honors that history while underscoring the organization’s lasting impact on photographers working in and around San Francisco for more than 50 years.
John Chiara: Bay Panel. John Chiara describes his process as “part photography, part sculpture, and part event.” Working with and within enormous, hand-built cameras that he transports throughout Northern California on a flatbed trailer, the artist creates unique positive photographs directly onto color photographic paper, without the use of a negative.
The resulting works retain visible traces of their making: hand-cut edges, tape marks, chemical streaking, and light leaks that foreground photography as a physical and performative act.
John Chiara: “Bay Panel” centers on the six-part, horizontal work from 2020 of the same title, originally commissioned by the Pilara Family Foundation for an exhibition in their former space. Shown only briefly before being placed in storage, the work now returns to public view for the first time. Stretching more than 24 feet in length, “Bay Panel” offers a sweeping meditation on the San Francisco Bay and the city’s layered photographic history. Referencing the panoramic traditions of 19th-century photographers such as Eadweard Muybridge, Chiara’s work captures the Bay’s shifting atmosphere alongside markers of urban development and commercial exchange, including the Golden Gate Bridge, San Francisco’s distinct skyline, and passing cargo ships, viewed from various vantages across the Bay. At once ethereal and finely detailed, “Bay Panel” highlights the dynamism and beauty of the SF Bay Area itself. Additional photographs included in the exhibition further demonstrate Chiara’s singular practice and his sustained engagement with the landscapes and histories of Northern California.
Artist Talk & Exhibition Walk Through with John Chiara: Saturday, July 18, 2026, 2:00 p.m. to 3:30 p.m. RESERVE SPACE
Check SFCamerawork.org for updates.
John Chiara’s (b. 1971, San Francisco; lives and works in San Francisco) work had been presented and acquired by institutions such as the J. Paul Getty Museum, Los Angeles; Fine Arts Museums of San Francisco; Los Angeles County Museum of Art; National Gallery of Art, Washington, DC; and Museum of Fine Arts, Boston, among others.
Chiara has participated in residencies including Art Factory Budapest, Hungary; Art Farm at Serenbe, GA; Crown Point Press, San Francisco; Fundaziun Nairs, Switzerland; and Headlands Center for the Arts. His work is widely recognized for re-imagining the possibilities of camera obscura photography. His monograph, John Chiara: California, was published by Aperture in 2017.
June 26 through August 16, 2026
Opening Reception: Saturday, June 27, 2026, 5:00 p.m. to 7:00 p.m.
Closed: Saturday, July 4, 2026
Artist Talk & Exhibition Walk Through: Saturday, July 18, 2026, 2:00 p.m. to 3:30 p.m.
Wednesday through Sunday, 11:00 a.m. to 6:00 p.m.
Friday, July 10, 2026: Open until 7:00 p.m. (call the gallery to confirm the extra hour)
SF Camerawork, Building A, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
FREE (Exhibition)
Artist Talk & Exhibition Walk-Through on Saturday, July 18, 2026: Members FREE; Non-Members $10 to $50, $12.51 to $55.20 with fees)
Haines Gallery:
HainesGallery.com
(415) 397-8114
art@HainesGallery.com
SF Camerwork:
SFCamerawork.org
(415) 487-1011
info@SFCamerawork.org
John Chiara:
JohnChiara.com
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FOR-SITE and Fort Mason Art present Andy Goldsworthy: Red Flags, a site-specific exhibition by the internationally acclaimed artist, on view at Fort Mason Center’s Pier 2 Gateway Pavilion. Coinciding with the 250th anniversary of the signing of the Declaration of Independence, the monumental work reflects on geographic borders, political boundaries, and the ties among people, land, and nation.
Public Reception: Friday, July 10, 2026, 5:30 p.m. to 7:30 p.m.
Marking its West Coast debut, Andy Goldsworthy’s Red Flags (2020) features 50 5 x 8-foot flags, each stained red with earth collected from one of the 50 U.S. states. Rather than displaying emblems that differentiate each state, Goldsworthy’s flags asks viewers to consider what unifies them – and the country. In shades ranging from pale ochre to deep sienna, the 50 flags point to U.S. diversity while insisting upon a shared humanity. “I hope the flags will be received in the same spirit with which all the red earths were collected,” says the artist, “as a gesture of solidarity and support.”
Red Flags was originally exhibited at New York’s Rockefeller Center in 2020, where it hung from flagpoles that typically display the flags of United Nations member nations, and later appeared in the artist’s 2025 retrospective Andy Goldsworthy: Fifty Years, at the National Galleries Scotland.
To complement the installation, a focused selection of Goldsworthy’s works are on view in the Gateway Pavilion’s Main Gallery, foregrounding red earth as a throughline in his practice – an elemental substance he has worked with for decades.
In the artist’s visual lexicon, the material evokes both the viewer’s connection with the land and the connection between places themselves. Having encountered the material in environments ranging from his property in Scotland to the South Australian Outback, Goldsworthy has described red earth as “the earth’s veins.”
A film originating from Red Flags screens in the Gateway Pavilion’s Gray Box.
The exhibition follows Goldsworthy’s 2022 Fort Mason installation Firehouse and continues FOR-SITE’s longstanding collaboration with the artist, including Spire (2008) and Wood Line (2011) in the San Francisco Presidio, works that have become enduring parts of the region’s cultural landscape.
Andy Goldsworthy: Red Flags is organized by FOR-SITE and presented with Fort Mason Art, with generous exhibition support from Haines Gallery, FOR-SITE’s Board of Directors, and Fort Mason Center for Arts & Culture. Installation services are provided by Fides Industrial.
British artist Andy Goldsworthy (b. 1956, lives and works in Dumfriesshire, Scotland) is internationally recognized for his sculptures, installations, photographs, and films that engage directly with the natural world. Working with materials such as stone, wood, leaves, and earth, his practice emphasizes process, time, and transformation, and viewers’ relationships with the landscape. Goldsworthy’s works have been exhibited in major sites and museums internationally, including solo exhibitions at the Metropolitan Museum of Art, New York; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Royal Scottish Academy, Edinburgh, Scotland; and Yorkshire Sculpture Park, UK, as well as permanent works at the deCordova Sculpture Park and Museum, Lincoln, MA; de Young Museum, San Francisco; Presidio of San Francisco; National Gallery of Art, Washington, DC; Nelson-Atkins Museum of Art, Kansas City, MO; Stanford University, CA; and Storm King Art Center, Mountainville, NY.
Andy Goldsworthy (continued). He has been the subject of several substantial monographic publications, as well as two feature-length documentaries: Rivers and Tides: Andy Goldsworthy Working With Time (2002) and Leaning into the Wind (2017).
FOR-SITE. Established in 2003 by founding Executive Director and Chief Curator Cheryl Haines, FOR-SITE is dedicated to the creation, understanding, and presentation of art about place. FOR-SITE’s highly acclaimed projects include Black Gold: Stories Untold (2025), at Fort Point National Historic Site in San Francisco; Lands End (2021-2022) at San Francisco’s former Cliff House; Sanctuary (2017-18) at Fort Mason Chapel; Home Land Security (2016) at Fort Winfield Scott in the San Francisco Presidio; and @Large: Ai Weiwei on Alcatraz (2014-2015) in the former Alcatraz Federal Penitentiary on Alcatraz Island in San Francisco Bay.
July 1 through July 30, 2026
Please note the exhibition is closed Saturday and Sunday, July 4-5 and July 11-12, 2026.
Wednesday through Saturday:
12:00 p.m. to 6:00 p.m.
Sunday: 11:00 a.m. to 5:00 p.m.
Public reception: Friday, July 10, 2026
5:30 p.m. to 7:30 p.m.
Friday, July 24, 2026, Fort Mason Night Market:
12:00 p.m. to 8:00 p.m.
Gateway Pavilion, Pier 2, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
FREE
FOR-SITE
FOR-SITE.org
(415) 362-9330
info@FOR-SITE.org
Andy Goldsworthy:
AndyGoldsworthyStudio.com
“Andy Goldsworthy’s West Coast premiere in S.F. turns 50 flags into a haunting vision of America”
by Tony Bravo (San Francisco Chronicle, July 7, 2026)
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SF Camerawork and Haines Gallery collaborate on major solo exhibitions by Chris McCaw and John Chiara. The presentations at SF Camerawork celebrate two San Francisco photographers through landmark works rarely seen by the public.
For summer 2026, SF Camerawork and Haines Gallery present two solo shows featuring major works by two acclaimed San Francisco Bay Area photographers. Chris McCaw and John Chiara are artists whose practices are deeply rooted in the history of photography while continually expanding the medium’s possibilities.
Presented consecutively in SF Camerawork’s gallery at Fort Mason Center for Arts & Culture, Chris McCaw: Double Day (May 21 – June 21, 2026) and John Chiara: Bay Panel (June 26 – July 19, 2026) center on ambitious, large-scale works that exemplify each artist’s singular approach to image-making. Together, the exhibitions celebrate SF Camerawork’s central role within the SF Bay Area photography community and its decades-long commitment to supporting artists whose practices have challenged and redefined the field.
For both McCaw and Chiara, SF Camerawork has played an important role early in their artistic development, providing support and visibility at pivotal moments in their careers. These upcoming exhibitions honor that history while underscoring the organization’s lasting impact on photographers working in and around San Francisco for more than 50 years.
Chris McCaw: Double Day. Chris McCaw’s inventive process transforms photography’s essential components – light, time, and photosensitive materials – into physical records of duration and exposure, highlighting our place with a cosmos in motion. In his iconic “Sunburn” series, the lenses of his hand-built cameras function as magnifying glasses, allowing the sun to literally burn its path directly into light-sensitive paper.
At the heart of Chris McCaw: Double Day is “Sunburned GSP #860 (Double midnight, Galbraith Lake, Arctic Circle, Alaska)” (2015), the largest continuous “Sunburn” McCaw has realized to date. Created during the Arctic summer, this monumental 25-panel work traces the sun’s trajectory across the sky over the course of approximately 30 hours, capturing twice the phenomenon of the “midnight sun” near the Arctic Circle. Measuring more than 25 feet in length and comprising just as many panels of silver gelatin paper, the work is a breathtaking record of landscape and weather, labor, and the passage of time.
Chris McCaw: Double Day (continued). Though widely recognized as one of the artist’s most significant achievements, “Sunburned GSP #860” has never before been exhibited on the West Coast. Alongside “Sunburned GSP #860,” the exhibition features additional works that illuminate McCaw’s evolving investigations into the material limits and possibilities of photography itself.
John Chiara: Bay Panel. John Chiara describes his process as “part photography, part sculpture, and part event.” Working with and within enormous, hand-built cameras that he transports throughout Northern California on a flatbed trailer, the artist creates unique positive photographs directly onto color photographic paper, without the use of a negative. The resulting works retain visible traces of their making: hand-cut edges, tape marks, chemical streaking, and light leaks that foreground photography as a physical and performative act.
John Chiara: “Bay Panel” centers on the six-part, horizontal work from 2020 of the same title, originally commissioned by the Pilara Family Foundation for an exhibition in their former space. Shown only briefly before being placed in storage, the work now returns to public view for the first time. Stretching more than 24 feet in length, “Bay Panel” offers a sweeping meditation on the San Francisco Bay and the city’s layered photographic history. Referencing the panoramic traditions of 19th-century photographers such as Eadweard Muybridge, Chiara’s work captures the Bay’s shifting atmosphere alongside markers of urban development and commercial exchange, including the Golden Gate Bridge, San Francisco’s distinct skyline, and passing cargo ships, viewed from various vantages across the Bay. At once ethereal and finely detailed, “Bay Panel” highlights the dynamism and beauty of the SF Bay Area itself. Additional photographs included in the exhibition further demonstrate Chiara’s singular practice and his sustained engagement with the landscapes and histories of Northern California.
Artist-led public programs for each show will be announced soon.
Check SFCamerawork.org for updates.
Chris McCaw (b. 1971, Daly City, CA; lives and works in Pacifica, CA) is the recipient of a 2026 Guggenheim Foundation Fellowship, as well as the Andy Warhol Foundation’s New Works Grant, Southern Exposure’s Alternative Exposure Grant, and George Eastman Museum’s Emerging Icon in Photography Award. His work has been exhibited internationally and is held in the collections of the J. Paul Getty Museum, Los Angeles; Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; National Gallery of Art, Washington, DC; San Francisco Museum of Modern Art; Smithsonian American Art Museum; and the Whitney Museum of American Art, among many others.
John Chiara’s(b. 1971, San Francisco; lives and works in San Francisco) work had been presented and acquired by institutions such as the J. Paul Getty Museum, Los Angeles; Fine Arts Museums of San Francisco; Los Angeles County Museum of Art; National Gallery of Art, Washington, DC; and Museum of Fine Arts, Boston, among others. Chiara has participated in residencies including Art Factory Budapest, Hungary; Art Farm at Serenbe, GA; Crown Point Press, San Francisco; Fundaziun Nairs, Switzerland; and Headlands Center for the Arts. His work is widely recognized for re-imagining the possibilities of camera obscura photography. His monograph, John Chiara: California, was published by Aperture in 2017.
Chris McCaw: Double Day:
May 21 to June 21, 2026
Opening Reception: Saturday, June 6, 2026, 5:00 p.m. to 7:00 p.m.
John Chiara: Bay Panel:
June 26 to July 19, 2026
Opening Reception: Saturday, June 27, 2026, 5:00 p.m. to 7:00 p.m.
Wednesday through Sunday, 11:00 a.m. to 6:00 p.m.
SF Camerawork, Building A, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
FREE
Haines Gallery:
HainesGallery.com
(415) 397-8114
art@HainesGallery.com
SF Camerwork:
SFCamerawork.org
(415) 487-1011
info@SFCamerawork.org
Chris McCaw:
ChrisMcCaw.com
John Chiara:
JohnChiara.com
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Haines Gallery presents two dynamic exhibitions – Andy Goldsworthy: For Olle and Once The Ocean Floor: Photography By John Chiara, Linda Connor, David Maisel, and Meghann Riepenhoff.
Marking Haines Gallery’s 12th solo exhibition with celebrated artist Andy Goldsworthy, For Olle is dedicated to Goldsworthy’s longtime friend and collaborator, Olle Lundberg, whose recent passing informs the exhibition. Bringing together a suite of related photographic works and a clay sculpture created for this presentation, the show offers an intimate reflection on materiality and memory, loss and renewal.
Goldsworthy has built an unparalleled reputation for his sculptures, installations, photographs, and films that explore our relationship to the natural world. His ephemeral works, a fundamental part of his practice since the late 1970s, are created outdoors using the materials and conditions of the site, such as earth, rocks, flowers, and leaves; these works often last only a short time before they are altered or erased by natural processes. Made almost daily, their beauty and meaning are bound up with the forces that they embody: labor, temporality, impermanence, and cycles of growth, decay, and regeneration.
At the heart of the exhibition are three photographic diptychs from Goldsworthy’s series “Fallen Elm” (2009–present), documenting ephemeral works made in relation to a single, fallen elm tree near the artist’s home in Scotland. On view for the first time, the “Fallen Elm” works in For Olle were made in November 2025, in the days following the loss of San Francisco architect Olle Lundberg. Each pair of images features delicate yellowed elm leaves and grass stalks that Goldsworthy has arranged along the trunk of the fallen elm in various constellations: a line, screen, or starburst.
Working across a range of photographic processes in Once The Ocean Floor, four artists foreground the natural world not simply as subject, but as an active force – an agent, collaborator, and historian.
Once the Ocean Floor includes a suite of new prints made during John Chiara’s 2025 artist residency in Georgia, capturing wooded meadows and drifting clouds, including a mysterious, shaded thicket of trees and two meditative 10-inch by eight-inch works that find quiet beauty in nature. Linda Connor’s eponymous series depicting the exquisitely craggy rock faces of Ladakh, India – Himalayan terrain that lay submerged beneath an ancient ocean more than 100 million years ago – and related works reflect a long-term engagement with the elemental forces of spirit and nature that continuously reshape our world.
David Maisel’s “Spiraling” series offers an aerial perspective on the environmental crisis rapidly unfolding across Utah’s Great Salt Lake region. Through his lens, endangered landscapes are imbued with a disquieting allure. Created directly within the landscape, Meghann Riepenhoff’s “State Shift” cyanotypes underscore nature’s force as an agent of transformation, while inviting viewers to consider the personal and collective shifts needed to preserve their shared home.
Together, the artists in this exhibition propose a re-orientation of photographic practice – one in which authorship is shared with and inspired by the natural world. Across these works, the earth is not merely represented, but an active participant. In this sense, photography becomes less a tool of depiction than a site of encounter, where the forces of nature, human intervention, and material processes converge.
Andy Goldsworthy (b. 1956, Chesire, UK; lives and works in Dumfriesshire, Scotland)
Goldsworthy’s works have been exhibited in major sites and museums internationally, including solo exhibitions at the Metropolitan Museum of Art, New York; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Royal Scottish Academy, Edinburgh, Scotland; and Yorkshire Sculpture Park, UK; and permanent works at the deCordova Sculpture Park and Museum, Lincoln, MA; de Young Museum, San Francisco; Presidio of San Francisco; National Gallery of Art, Washington, DC; Nelson-Atkins Museum of Art, Bar Kansas City, MO; Stanford University, CA; and Storm King Art Center, Mountainville, NY. He has been the subject of several substantial monographic publications, as well as two feature-length documentaries: Rivers and Tides (2002) and Leaning into the Wind (2017).
John Chiara’s (b. 1971, lives and works in San Francisco) luminous Ilfochrome prints, made using hand-built camera obscuras, are both a window onto the world and a physical object shaped by time, light, and touch. Printed directly onto photographic paper using hand-built camera obscuras, his images possess an uncanny clarity – at once dreamlike and sharply lucid. Through layered exposures and subtle filtration, Chiara produces richly saturated, atmospheric scenes that openly register the conditions of their making. Light leaks, chemical drips, tape marks, and other material traces refuse the illusion of a seamless image.
Linda Connor’s (b. 1944, lives and works in the San Francisco Bay Area) photographs offer a foundational perspective within the exhibition, lending the show its title.
Linda Connor (continued). A beacon within the photo community, Connor’s longtime role as an educator, mentor, and advocate for young photographers has been deeply influential throughout the Bay Area and beyond.
David Maisel’s (b. 1961, lives and works in the San Francisco Bay Area) “Spiraling” series offers an aerial perspective on the ecological crisis affecting the Great Salt Lake region. Gravely impacted by climate change and reshaped by mining toxins and agricultural runoff, the lake’s size has decreased by more than two-thirds since Maisel began working there nearly 40 years ago. Evaporation ponds and mineral extraction sites become nearly unrecognizable abstractions that pulse with otherworldly colors and geometries. In the two prints on view – and throughout much of his work – Maisel uses beauty “as a tool, a device for helping viewers focus their attention,” creating space for them to contemplate what might otherwise be unthinkable.
Meghann Riepenhoff (b. 1979, lives and works in Bainbridge Island, WA) creates her cyanotypes directly within the landscape, letting the elements leave physical inscriptions on paper coated with light-sensitive materials. Prominently featured in the exhibition, works from Riepenhoff’s recent “State Shift” series introduce new materials and gestures, borrowing its title from a scientific term for sudden, dramatic changes that occur when ecosystems cross critical thresholds. In the diptych on view, freezing water forms crystalline passages that sweep across the paper. “The physical nature of my work, where photography-based media come in contact with rain, waves, wind, and wintry environments, is a call to be in closer contact with our environment,” Riepenhoff has said.
May 8 through July 3, 2026
Tuesday through Saturday, 10:30 a.m. to 5:30 p.m.
Opening Reception: Friday, May 8, 2026, 5:00 p.m. to 7:00 p.m.
Haines Gallery, Building C, First Floor, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
FREE
Haines Gallery:
HainesGallery.com
(415) 397-8114
art@HainesGallery.com
Andy Goldsworthy:
AndyGoldsworthyStudio.com
John Chiara:
JohnChiara.com
Linda Connor:
HainesGallery.com
David Maisel:
DavidMaisel.com
studio@DavidMaisel.com
Meghann Riepenhoff:
MeghannRiepenhoff.com
MeghannRiepenhoffAssistant@gmail.com
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Fort Mason Center for Arts & Culture’s resident group Museo Italo Americano has online and in-person shopping and in-person and Zoom events during 2026.
Find wonderful gifts at the Museo’s online shop. You can also visit the shop in-person, Tuesday through Saturday, 12:00 p.m. to 4:00 p.m. and Sunday, 10:00 a.m. to 2:00 p.m. Discover Murano glass hearts; fused- and blown-glass jewelry; brilliant blown-glass and fused-glass birds; books; and Italia-branded men’s items.
Heart’s Delight: An Orchard Story screens on Sunday, August 2, 2026, 3:30 p.m. to 5:30 p.m. Marilyn Messina presents this Chip Curry-directed documentary about her ancestor Stefano Messina and other Sicilian immigrants who shaped the rich agricultural history of Santa Clara County, CA. The event includes a question-and-answer session with Marilyn Messina and light refreshments. This screening is made possible with support from Ken Borelli and the Italian American Heritage Foundation, San Jose, CA. ($20 for members, $30 for non-members)
The “Museo Blood Drive 2026” takes place in the parking lot near Building C on Thursday, August 6, 2026, 11:00 a.m. to 3:00 p.m. (FREE; schedule an appointment in advance)
“Cena & Telechat [Virtual Version]” conversations over meals or wine or prosecco continue on Monday, August 17, 2026; and September 21, 2026, from 6:00 p.m. to 7:00 p.m. Conversations are in Italian and happen on Zoom. (FREE for members, $10 for non-members). Register online; call (415) 673-2200 or email info@SFMuseo.org.
“Mark Cavagnero Architect: 15 Projects” happens Thursday, September 3, 2026, 6:00 p.m. to 8:00 p.m. Cavagnero and fellow architect Pierluigi Serraino discuss his new book, Mark Cavagnero Architect: Fifteen Projects. (FREE; register in advance)
Sunday, August 2, 2026; 3:30 p.m. to 5:30 p.m.
Thursday, August 6, 2026; 11:00 a.m. to 3:00 p.m.
Monday, August 19, and September 21, 2026; 6:00 p.m. to 7:00 p.m.
Thursday, September 3, 2026; 6:00 p.m. to 8:00 p.m.
Building C, First Floor, Fort Mason Center For Arts & Culture, 2 Marina Boulevard, San Francisco, CA 94123
Art Market Productions presents the San Francisco Art Fair 2026, the San Francisco Bay Area’s premier art fair. The SF Art Fair features close to 90 local, national, and international galleries.
As the San Francisco Bay Area’s longest-running art fair, San Francisco Art Fair affirms the vibrancy and resiliency of the region’s arts ecosystem. In 2026, it continues its dedication to the region’s cultural institutions, galleries, artists, and collectors through presentations from close to 90 local, national, and international galleries alongside important region-wide collaborations with new and longstanding partners.
Notably, the 2026 fair has a special focus on Asian American and Pacific Islander (AAPI) voices, uplifting artists whose work reflects the SF Bay Area’s deep immigrant legacies and the cultural contributions of communities who continue to shape the region’s identity.
The 2026 edition features galleries from across the SF Bay Area and beyond. The fair is pleased to welcome back several beloved
local galleries, including San Francisco-based Catharine Clark Gallery, HANG Art, Jonathan Carver Moore, Scott Richards Contemporary Art, Stephanie Breitbard Fine Arts, and Studio Shop Gallery, one of California’s longest-running cooperative galleries. The fair welcomes the return of galleries from across the U.S., including Ferrara Showman Gallery (New Orleans), Hall Spassov (Seattle), Able Fine Art NY Gallery (New York), Yiwei Gallery (LA), and Billis Williams Gallery (LA). The fair’s international reach extends to France with Sobering Galerie (Paris), South Korea with Gallery Playlist (Busan), Canada with Newzones Gallery of Contemporary Art (Calgary), and South Africa with Martin Art Projects (Capetown). Additional highlights include works from the Bella Feldman Estate at CK Contemporary, showcasing the late SF Bay Area artist’s sculptural investigations in glass and steel; and a dedicated booth from San Francisco Art Dealers Association curated by TINT Gallery (San Francisco).
San Francisco Art Fair is excited to welcome first time exhibitors COL Gallery (San Francisco), bringing a solo booth by Piikani (Blackfeet) artist Terran Last Gun, featuring bold geometric abstractions informed by Indigenous visual traditions and the
landscapes of the American West. Other new exhibitors include Peter Fetterman Gallery and Calistoga Contemporary, who bring photography and SF Bay Area-rooted programs to the show floor; international exhibitor The Melrose Gallery (opening a San Francisco outpost this spring) presenting “Ain’t That America” by Clint Strydom, a photographic series capturing reimagined views of everyday Americana; as well as 1599fdT (San Francisco), Current State Studio (LA), and Cordata Gallery (Bellingham, WA).
The 14th edition of the San Francisco Art Fair arrives at a pivotal moment, reaffirming the importance of accessible, inclusive platforms that support artistic communities locally and nationally. The fair serves as a convening space for the SF Bay Area’s artists, galleries, institutions, and collectors, while continuing to position the region as a vital force within the broader contemporary art landscape.
In 2026, that vision is anchored by a dedicated focus on AAPI voices, recognizing the foundational role AAPI artists and cultural leaders play in shaping the SF Bay Area’s history, creative ecosystems, and civic life.
In support of this focus, San Francisco Art Fair partners with leading AAPI organizations and institutions across the region, including the Asian Art Museum and the Asian American Art Initiative at the Cantor Arts Center (Stanford University, Palo Alto, CA). Other activations include an onsite presence (“Da Da Daam”) from the Chinese Culture Center (CCC) of San Francisco and Edge on the Square (San Francisco), that bring together Chinatown-based artists and creatives who have developed key parts of their practice in the neighborhood, in addition to the CCC Design Store pop-up.
Aligned with the AAPI focus includes public programming such as “The Red Chador: Becoming Rogue,” a participatory performance and installation by internationally acclaimed artist Anida Yoeu Ali, presented by Creative Generation Cambodia, a large-scale abstract mural by Good Mother Gallery’s artist Chad Hasegawa painted on the iconic shipping containers outside the fair’s entrance.
Additional highlights include the return of the fair’s theater design curated by San Francisco designer Anand Sheth of Studio Anand Sheth and presented in collaboration with Dwell Magazine. The 2026 stage decor and furnishings are conceived and constructed by local designer Buz, currently an artist-in-residence at Root Division, incorporating reclaimed and collected materials from across San Francisco. Culinary programming by ABACÁ, whose modern Filipino-Californian cuisine further reflects the fair’s commitment to celebrating AAPI creativity across artistic and cultural disciplines, and a special display celebrating SF Bay Area curator Mara Gladstone and her curation of the Philippine’s Pavilion at the 2026 Venice Biennale.
Other programming at the fair includes 500 Capp Street who presents a booth reimagined as a domestic retail hybrid space, using the work of artists who are deeply connected to the SF Bay Area, to create a “lived in” environment. Djerassi Resident Artists Program highlights a roster of their acclaimed artists such as David Nash, Amber Jean Young, John Roloff, Barbara Nerness, and Kamran Samimi, who are bringing material practice, landscape, and time-based experiences into a singular immersive display. Saint Joseph’s Arts Society partners with the new organization Art + Water (who is working to address the urgent need for affordable artist workspace) to present “Shared Scriptors,” a collaborative display of works centered on mentorship, copresence, and mutual support across SF Bay Area arts institutions. Designed as a place of pause within the fair, and inspired by Saint
Joseph’s home inside a revitalized historic church, the environment incorporates seating drawn from the organization’s pews and furnishings, and natural elements that encourage lounging, engagement, and communal gathering.
April 16 to 19, 2026
Thursday: 4:00 p.m. to 9:00 p.m.
Friday & Saturday: 11:00 a.m. to 7:00 p.m.
Sunday: 11:00 a.m. to 6:00 p.m.
Festival Pavilion, Pier 3, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
$35 to $65
San Francisco Art Fair 2026: SanFranciscoArtFair.com
(212) 518-6912
info@AMP.events
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Discover the best new art and support artists at The Superfair San Francisco 2026 fine art fair at Fort Mason Center For Arts & Culture (FMCAC).
More than 160 top contemporary artists await art lovers for four days only at the FMCAC campus. Superfair visitors experience a friendly environment, affordable price points, and unique opportunities to meet emerging artists heading for global status.
Envision your home, filled with moments of wonder. At Superfine Art Fair, you meet unique, dedicated, uncommonly talented artists creating inspiring art. Find artwork that resonates with you, direct from the artist, and bring your walls to life.
Superfair’s legendary special programs are the perfect complement to a weekend filled with discovering thousands of original works of art.
Enjoy Disco Mermaid Opening Night, custom collector tours, live music, live art demos, performance art, and interactive installations. Savor local coffee, food, and spirits.
Sip cocktails with FrameLine’s movers and shakers while enjoying a selection of LGBTQ+ shorts programming. Experience the live installation of H.P. Mendoza’s ATTACK-DECKAY-RELEASE! alongside live art demos, the Combsy Liquid Light show, and DJ sets.
March 19 to 22, 2026
Thursday & Friday: 4:00 p.m. to 10:00 p.m.
Saturday: 10:00 a.m. to 8:00 p.m.
Sunday: 10:00 a.m. to 6:00 p.m.
Gateway Pavilion, Pier 2, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
$25 to $150
The Superfair San Francisco 2026:
TheSuperfair.com/san-francisco
alex@TheSuperfair.com
FrameLine:
FrameLine.org
(415) 703-8650
info@FrameLine.org
H. P. Mendoza:
HPMendoza.com
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Museo Italo Americano presents “Legàmi/Bonds” at Fort Mason Center For Arts & Culture. “Legàmi/Bonds” connects art, artists, and donors through selected works by 44 artists from the Museo’s permanent collection.
“Legàmi/Bonds” connects art, artists, and donors through selected works by 44 artists from the Museo’s permanent collection.
The exhibition features works from local artists Beniamino Bufano and Lawrence Ferlinghetti to international figures such as Giorgio De Chirico and Tina Modotti.
Ongoing
Tuesday to Saturday, 12:00 p.m. to 4:00 p.m.
Sunday, 10:00 a.m. to 2:00 p.m.
Museo Italo Americano, Building C, First Floor, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
$10
Free On Thursdays
Museo Italo Americano presents “Legàmi/Bonds” at Fort Mason Center For Arts & Culture.
“Legàmi/Bonds” connects art, artists, and donors through selected works by 44 artists from the Museo’s permanent collection.
Sign up today for the latest news from Fort Mason Center For Arts & Culture.
Haines Gallery presents Reversals & Revolutions, their second solo exhibition with renowned photographer Chris McCaw, at Fort Mason Center For Arts & Culture.
McCaw’s singular artistic practice foregrounds photography’s essential components – light and time, lenses and light-sensitive materials – to generate startlingly inventive photographic forms.
Reversals & Revolutions debuts McCaw’s newest body of work, “Inverse,” alongside a selection of his signature “Sunburn” prints. Rendered entirely in-camera through McCaw’s years-long mastery of complex and little-known photographic processes, the exhibited works are unique, direct prints – emerging from the camera to the developer tray without post-processing, cropping, or manipulation: raw recordings of light. This highly anticipated exhibition marks McCaw’s first solo showing in San Francisco in nearly a decade and opens in tandem with SF Art Week 2026.
McCaw’s “Inverse” series expands upon the analog tools he has evolved over the past two decades. To produce these new works, the artist deploys a technique called solarization, a tonal reversal between negative and positive that occurs through extreme, in-camera overexposure. Using multiple exposures and custom-cut dark slides that mask parts of the frame, McCaw trains the lenses of his hand-built cameras not on the sun but on Earth’s terrain, exploring how the photographic negative and positive can serve as visual metaphors for how we see the landscape and navigate its changing manifestations.
In some of these resulting new works, the positive area is framed within a central oculus, as if training our eyes on the site with a pair of binoculars or a camera’s viewfinder as the borders recede into a negative, latent state. In others, the landscape strobes with alternating passages of positive and negative tones, rendering otherworldly horizons with meticulous detail. By integrating the negative (normally considered as a means to an end) into the finished piece, McCaw disrupts our visual and emotional expectations, inviting a closer look at changing environments we might otherwise dismiss as familiar or easily understood.
The sun is both subject and instrument in McCaw’s iconic “Sunburn” works, one-of-a-kind photographic objects that are literally drawn with light. Here, the high-powered lenses of his handmade cameras harness the power of the sun, allowing it to literally burn its path across light sensitive paper loaded directly into the camera. Over exposures lasting anywhere between several seconds to entire days, the sun renders its own presence as circular burns or searing arcs over the horizon.
Reversals & Revolutions features an array of technically ambitious “Sunburn” works in which the solar incisions are scorched across multiple panels during sequential exposures or arranged in cartographic grids. Each work results from careful choreography between artist and nature, planning and chance. McCaw travels to locations based on the angle and power of the sun at a particular time of year, composing remarkable images that may trace the sun’s unbroken path from evening to morning in the Alaskan summer, when it never sets below the horizon, or its vertical ascent in the Galapagos, near the equator. McCaw’s “Sunburn” works are tactile, visceral, and temporal, the spin of the Earth and the passage of time made material.
Taken together, Reversals & Revolutions offers a profound meditation on analog photography’s foundational elements and its continued capacity for reinvention. Across both bodies of work, McCaw pushes the medium beyond conventions, revealing landscapes shaped not only by geography and astronomy, but by the artist’s own experimental rigor. The exhibition underscores McCaw’s role as one of contemporary photography’s most inventive practitioners, inviting viewers to reconsider the familiar world through processes that are as conceptually rich as they are visually arresting.
Chris McCaw (b. 1971, lives and works in Pacifica, CA)’s work is collected by such institutions as the Getty Museum, Los Angeles, CA; Los Angeles County Museum of Art, CA; Museum of Fine Arts, Houston, TX; National Gallery of Art, Washington DC; Philadelphia Museum of Art, PA; San Francisco Museum of Modern Art, CA; Smithsonian American Art Museum, Washington DC; Victoria and Albert Museum, London, UK; and Whitney Museum of American Art, New York, NY, among many others.
He is the recipient of awards including the Andy Warhol Foundation’s New Works Grant and Southern Exposure’s Alternative Exposure Grant, as well as the Emerging Icon in Photography Award from the George Eastman Museum. McCaw’s work has been the subject of two monographic publications: Sunburn (Candela Books, 2012) and Marking Time (Datz Press, 2023).
January 21, 2026 through March 7, 2026
Tuesday through Saturday, 10:30 a.m. to 5:30 p.m.
Opening Reception: Friday, January 23, 2026, 6:00 p.m. to 8:00 p.m.
Building C, First Floor, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
Free
Haines Gallery:
HainesGallery.com
(415) 397-8114
art@HainesGallery.com
Chris McCaw:
ChrisMcCaw.com
(415) 533-5484
chris@ChrisMcCaw.com
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Haines Gallery presents Reversals & Revolutions, their second solo exhibition with renowned photographer Chris McCaw, at Fort Mason Center For Arts & Culture.
McCaw’s singular artistic practice foregrounds photography’s essential components – light and time, lenses and light-sensitive materials – to generate startlingly inventive photographic forms.
Reversals & Revolutions debuts McCaw’s newest body of work, “Inverse,” alongside a selection of his signature “Sunburn” prints. Rendered entirely in-camera through McCaw’s years-long mastery of complex and little-known photographic processes, the exhibited works are unique, direct prints – emerging from the camera to the developer tray without post-processing, cropping, or manipulation: raw recordings of light. This highly anticipated exhibition marks McCaw’s first solo showing in San Francisco in nearly a decade and opens in tandem with SF Art Week 2026.
McCaw’s “Inverse” series expands upon the analog tools he has evolved over the past two decades. To produce these new works, the artist deploys a technique called solarization, a tonal reversal between negative and positive that occurs through extreme, in-camera overexposure. Using multiple exposures and custom-cut dark slides that mask parts of the frame, McCaw trains the lenses of his hand-built cameras not on the sun but on Earth’s terrain, exploring how the photographic negative and positive can serve as visual metaphors for how we see the landscape and navigate its changing manifestations.
In some of these resulting new works, the positive area is framed within a central oculus, as if training our eyes on the site with a pair of binoculars or a camera’s viewfinder as the borders recede into a negative, latent state. In others, the landscape strobes with alternating passages of positive and negative tones, rendering otherworldly horizons with meticulous detail. By integrating the negative (normally considered as a means to an end) into the finished piece, McCaw disrupts our visual and emotional expectations, inviting a closer look at changing environments we might otherwise dismiss as familiar or easily understood.
The sun is both subject and instrument in McCaw’s iconic “Sunburn” works, one-of-a-kind photographic objects that are literally drawn with light. Here, the high-powered lenses of his handmade cameras harness the power of the sun, allowing it to literally burn its path across light sensitive paper loaded directly into the camera. Over exposures lasting anywhere between several seconds to entire days, the sun renders its own presence as circular burns or searing arcs over the horizon.
Reversals & Revolutions features an array of technically ambitious “Sunburn” works in which the solar incisions are scorched across multiple panels during sequential exposures or arranged in cartographic grids. Each work results from careful choreography between artist and nature, planning and chance. McCaw travels to locations based on the angle and power of the sun at a particular time of year, composing remarkable images that may trace the sun’s unbroken path from evening to morning in the Alaskan summer, when it never sets below the horizon, or its vertical ascent in the Galapagos, near the equator. McCaw’s “Sunburn” works are tactile, visceral, and temporal, the spin of the Earth and the passage of time made material.
Taken together, Reversals & Revolutions offers a profound meditation on analog photography’s foundational elements and its continued capacity for reinvention. Across both bodies of work, McCaw pushes the medium beyond conventions, revealing landscapes shaped not only by geography and astronomy, but by the artist’s own experimental rigor. The exhibition underscores McCaw’s role as one of contemporary photography’s most inventive practitioners, inviting viewers to reconsider the familiar world through processes that are as conceptually rich as they are visually arresting.
Chris McCaw (b. 1971, lives and works in Pacifica, CA)’s work is collected by such institutions as the Getty Museum, Los Angeles, CA; Los Angeles County Museum of Art, CA; Museum of Fine Arts, Houston, TX; National Gallery of Art, Washington DC; Philadelphia Museum of Art, PA; San Francisco Museum of Modern Art, CA; Smithsonian American Art Museum, Washington DC; Victoria and Albert Museum, London, UK; and Whitney Museum of American Art, New York, NY, among many others.
He is the recipient of awards including the Andy Warhol Foundation’s New Works Grant and Southern Exposure’s Alternative Exposure Grant, as well as the Emerging Icon in Photography Award from the George Eastman Museum. McCaw’s work has been the subject of two monographic publications: Sunburn (Candela Books, 2012) and Marking Time (Datz Press, 2023).
January 21, 2026 through March 7, 2026
Tuesday through Saturday, 10:30 a.m. to 5:30 p.m.
Opening Reception: Friday, January 23, 2026, 6:00 p.m. to 8:00 p.m.
Building C, First Floor, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
Free
Haines Gallery:
HainesGallery.com
(415) 397-8114
art@HainesGallery.com
Chris McCaw:
ChrisMcCaw.com
(415) 533-5484
chris@ChrisMcCaw.com
Sign up today for the latest news from Fort Mason Center For Arts & Culture.
Haines Gallery presents Reversals & Revolutions, their second solo exhibition with renowned photographer Chris McCaw, at Fort Mason Center For Arts & Culture.
McCaw’s singular artistic practice foregrounds photography’s essential components – light and time, lenses and light-sensitive materials – to generate startlingly inventive photographic forms.
Reversals & Revolutions debuts McCaw’s newest body of work, “Inverse,” alongside a selection of his signature “Sunburn” prints. Rendered entirely in-camera through McCaw’s years-long mastery of complex and little-known photographic processes, the exhibited works are unique, direct prints – emerging from the camera to the developer tray without post-processing, cropping, or manipulation: raw recordings of light. This highly anticipated exhibition marks McCaw’s first solo showing in San Francisco in nearly a decade and opens in tandem with SF Art Week 2026.
McCaw’s “Inverse” series expands upon the analog tools he has evolved over the past two decades. To produce these new works, the artist deploys a technique called solarization, a tonal reversal between negative and positive that occurs through extreme, in-camera overexposure. Using multiple exposures and custom-cut dark slides that mask parts of the frame, McCaw trains the lenses of his hand-built cameras not on the sun but on Earth’s terrain, exploring how the photographic negative and positive can serve as visual metaphors for how we see the landscape and navigate its changing manifestations.
In some of these resulting new works, the positive area is framed within a central oculus, as if training our eyes on the site with a pair of binoculars or a camera’s viewfinder as the borders recede into a negative, latent state. In others, the landscape strobes with alternating passages of positive and negative tones, rendering otherworldly horizons with meticulous detail. By integrating the negative (normally considered as a means to an end) into the finished piece, McCaw disrupts our visual and emotional expectations, inviting a closer look at changing environments we might otherwise dismiss as familiar or easily understood.
The sun is both subject and instrument in McCaw’s iconic “Sunburn” works, one-of-a-kind photographic objects that are literally drawn with light. Here, the high-powered lenses of his handmade cameras harness the power of the sun, allowing it to literally burn its path across light sensitive paper loaded directly into the camera. Over exposures lasting anywhere between several seconds to entire days, the sun renders its own presence as circular burns or searing arcs over the horizon.
Reversals & Revolutions features an array of technically ambitious “Sunburn” works in which the solar incisions are scorched across multiple panels during sequential exposures or arranged in cartographic grids. Each work results from careful choreography between artist and nature, planning and chance. McCaw travels to locations based on the angle and power of the sun at a particular time of year, composing remarkable images that may trace the sun’s unbroken path from evening to morning in the Alaskan summer, when it never sets below the horizon, or its vertical ascent in the Galapagos, near the equator. McCaw’s “Sunburn” works are tactile, visceral, and temporal, the spin of the Earth and the passage of time made material.
Taken together, Reversals & Revolutions offers a profound meditation on analog photography’s foundational elements and its continued capacity for reinvention. Across both bodies of work, McCaw pushes the medium beyond conventions, revealing landscapes shaped not only by geography and astronomy, but by the artist’s own experimental rigor. The exhibition underscores McCaw’s role as one of contemporary photography’s most inventive practitioners, inviting viewers to reconsider the familiar world through processes that are as conceptually rich as they are visually arresting.
Chris McCaw (b. 1971, lives and works in Pacifica, CA)’s work is collected by such institutions as the Getty Museum, Los Angeles, CA; Los Angeles County Museum of Art, CA; Museum of Fine Arts, Houston, TX; National Gallery of Art, Washington DC; Philadelphia Museum of Art, PA; San Francisco Museum of Modern Art, CA; Smithsonian American Art Museum, Washington DC; Victoria and Albert Museum, London, UK; and Whitney Museum of American Art, New York, NY, among many others.
He is the recipient of awards including the Andy Warhol Foundation’s New Works Grant and Southern Exposure’s Alternative Exposure Grant, as well as the Emerging Icon in Photography Award from the George Eastman Museum. McCaw’s work has been the subject of two monographic publications: Sunburn (Candela Books, 2012) and Marking Time (Datz Press, 2023).
January 21, 2026 through March 7, 2026
Tuesday through Saturday, 10:30 a.m. to 5:30 p.m.
Opening Reception: Friday, January 23, 2026, 6:00 p.m. to 8:00 p.m.
Building C, First Floor, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
Free
Haines Gallery:
HainesGallery.com
(415) 397-8114
art@HainesGallery.com
Chris McCaw:
ChrisMcCaw.com
(415) 533-5484
chris@ChrisMcCaw.com
Sign up today for the latest news from Fort Mason Center For Arts & Culture.
Short Films by Anthony McCall, Hollis Frampton, Carolee Schneemann & Paul Sharits
Presented by Fort Mason Art and San Francisco Cinematheque
Fort Mason Art and San Francisco Cinematheque present a one-night-only screening featuring a quartet of diverse works which were inspirational to Anthony McCall’s life and practice during the period of conceiving and creating Line Describing a Cone, works suggested by the artist (all to screen in 16mm).
Fort Mason Center for Arts & Culture’s current exhibition Anthony McCall: First Light presents seminal works of cinematic sculpture by the pioneering British artist, three “solid light” works including the canonical Line Describing a Cone (1973). These non-theatrical installation works transformed the possibilities of cinema, challenge the boundaries between film, sculpture, drawing, and performance, and invite viewers to step away from the screen and into the sculptural beams of projected light themselves.
In tandem with the exhibition, Fort Mason Art and San Francisco Cinematheque present a one-night-only screening featuring a trio of diverse works which were inspirational to McCall’s life and practice during the period of conceiving and creating Line Describing a Cone, works suggested by the artist (all to screen in 16mm).
There is a pre-screening tour of the exhibition by Chief Curator Frank Smigiel in the gallery. Light refreshments are available for purchase at the screening in the theater.
Carolee Schneemann’s Plumb Line (1972), is described by Schneemann as “a moving and powerful subjective chronicle of the breaking up of a love relationship… a devastating exorcism, as the viewer sees and hears the film approximate the interior memory of the experience.” [Screening: Plumb Line (1972) by Carolee Schneemann; 16mm, color, sound, 18 minutes. Print from Canyon Cinema.] Paul Sharits’ Ray Gun Virus (1966) is a film of pure flickering color, “affirming projector, projection beam, screen, emulsion, film frame structure, etc.,” a film as much projected on the viewers nervous system as on the screen. [Screening: Ray Gun Virus (1966) by Paul Sharits; 16mm, color, sound, 14 minutes. Print from Canyon Cinema.]
Nostalgia (Hapax Legomena I) (1971), is Hollis Frampton’s poetic ode to motion and stillness, anticipation, and memory. [Screening: Nostalgia (Hapax Legomena I) (1971) by Hollis Frampton; 16mm, b&w, sound, 38 minutes. Print from the Film-Makers’ Cooperative.] The program opens with McCall’s rarely screened early work Landscape for Fire (1972). {Screening: Landscape for Fire (1972) by Anthony McCall; 16mm screened as digital video, color, sound, seven minutes. Exhibition file from the maker.] Steve Polta, Artistic Director of San Francisco Cinematheque, introduces the films and places them within the context of McCall’s work
Wednesday, February 18, 2026
6:00 p.m. to 6:30 p.m. (Free tour & curator talk, Building A)
7:00 p.m. to 8:30 p.m. (Film program, Building B)
Gallery 308, Building A & Bayfront Theatre, Building B, Third Floor, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
Free (Pre-film tour & curator talk, Building A)
Free to $60 sliding scale (Film Program, Bulding B)
San Francisco Cinematheque:
SFCinematheque.org
(415) 552-1990
SFC@SFCinematheque.org
Anthony McCall:
AnthonyMcCall.com
Carolee Schneemann:
SchneemannFoundation.org
mail@SchneemannFoundation.org
Paul Sharits:
PaulSharits.com
csharits@comcast.net
Hollis Frampton:
HarvardFilmArchive.org
Sign up today for the latest news from Fort Mason Center For Arts & Culture.
Join Fort Mason Art, American Indian Cultural District (AICD), Arion Press, FOR-SITE, Goody Café, Haines Gallery, The Interval At Long Now, Museo Italo Americano, SF Camerawork, and the San Francisco Children’s Art Center for the free Fort Mason Art Walk.
Coinciding with FOG Design + Art 2026, enjoy a night of free exhibitions, artist talks, openings and more. Highlighted by Fort Mason Art’s presentation of Anthony McCall: First Light, the Fort Mason Art Walk promises an evening of cultural experiences and community.
Check in at The Store House in Building D starting at 6:00 p.m. Get one free drink ticket (included with registration). Refreshments by Cow Hollow Catering. All events 6:00 p.m. to 8:00 p.m. unless otherwise indicated.
All Fort Mason Art programs are generously supported by San Francisco Grants for The Arts, the FMCAC Board of Directors, and individual contributions to the Fort Mason Fund.
Fort Mason Art and the Kramlich Art Foundation present the Bay Area premiere of the pioneering British artist’s revolutionary “solid light” works from the early 1970s. The exhibition features three seminal pieces that transformed the possibilities of cinema and challenged the boundaries between film, sculpture, drawing, and performance.
Exhibition tours led by curator Frank Smigiel: 6:30 p.m. and 7:30 p.m.
Gallery 308, Building A
We Are The Land: Between Earth & Sky
Commissioned murals by Jewelina Acosta and Brittany Burrows. A collection of historic posters commemorating decades of Indigenous arts and cultural events held at Fort Mason Center For Arts & Culture (FMCAC), presented by FMCAC resident AICD, is also on view in the lobby.
Building D Lobby
FOR-SITE, in collaboration with WORTHLESSSTUDIOS presents the installation 1-800 Happy Birthday At The Guardhouse. The exhibition opening features ongoing talks by the curator and members of the families of Sean Monterrosa, Mario Woods, and Dujuan Armstrong. Originally created in 2020 as part of the evolution of a film series by EVEN/ODD founder, filmmaker, and artist Mohammad Gorjestani, 1-800 Happy Birthday is a project honoring Black and Brown victims of police killings and systemic racism.
Black Gold Book Launch + Radius Books Pop-Up, 6:00 p.m. to 7:30 p.m.
The Store House, Building D
San Francisco Children’s Art Center invites artists of all ages to join a hands-on artmaking experience. Explore the art of collagraph printmaking to create multi-layered, multi-textured visual expressions from recycled materials.
Building C, First Floor
Haines Gallery hosts the opening reception of Reversals and Revolutions, a new solo exhibition with renowned San Francisco Bay Area photographer Chris McCaw. This highly anticipated exhibition marks McCaw’s first solo showing in San Francisco in nearly a decade, and debuts his newest body of work, “Inverse,” alongside a selection of his signature “Sunburn” prints.
Building C, First Floor
New: Fidan Kim: “While Time Was Quiet” pen and ink sketches. Kim discusses her work. Ongoing: Gabby Custodia “Local Doods” ink doodles. Stop by for free popcorn and food for purchase (Including pop-up SAINT CITY Pizza red and white pies).
Building C, First Floor
Arion Press invites all to visit their Gallery Showroom to peruse and purchase Arion Press publications, get sneak peeks of upcoming and recent releases, and register for public programs and tours.
Building B, First Floor
The Long Now Foundation
“Long-Term Thinking Artifacts Tours”
6:00 p.m. and 7:00 p.m.
Artist Casey Cripe discusses his painting “The Long Now”
6:30 p.m. and 7:30 p.m.
Building A
SF Camerawork presents And Yet, We See, a solo exhibition by Iranian-born photographer and multimedia artist Nasim Moghadam, curated by Zoë Latzer. The exhibition invites audiences to encounter immersive photographic installations that explore visibility, agency, and resilience in the face of erasure.
Building A
Museo Italo Americano presents a live performance by The Mina Project, a musical collaboration dedicated to the jazz and pop songs of Mina (Mazzini).
The Museo’s current exhibition, “Legàmi/Bonds,” connects art, artists, and donors through selected works from their permanent collection.
Building C, First Floor
Friday, January 23, 2026
6:00 p.m. to 8:00 p.m.
Buildings A, B, C, and D, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
Free (Registration Recommended)
Sign up today for the latest news from Fort Mason Center For Arts & Culture.
Haines Gallery presents Reversals & Revolutions, their second solo exhibition with renowned photographer Chris McCaw, at Fort Mason Center For Arts & Culture.
McCaw’s singular artistic practice foregrounds photography’s essential components – light and time, lenses and light-sensitive materials – to generate startlingly inventive photographic forms.
Reversals & Revolutions debuts McCaw’s newest body of work, “Inverse,” alongside a selection of his signature “Sunburn” prints. Rendered entirely in-camera through McCaw’s years-long mastery of complex and little-known photographic processes, the exhibited works are unique, direct prints – emerging from the camera to the developer tray without post-processing, cropping, or manipulation: raw recordings of light. This highly anticipated exhibition marks McCaw’s first solo showing in San Francisco in nearly a decade and opens in tandem with SF Art Week 2026.
McCaw’s “Inverse” series expands upon the analog tools he has evolved over the past two decades. To produce these new works, the artist deploys a technique called solarization, a tonal reversal between negative and positive that occurs through extreme, in-camera overexposure. Using multiple exposures and custom-cut dark slides that mask parts of the frame, McCaw trains the lenses of his hand-built cameras not on the sun but on Earth’s terrain, exploring how the photographic negative and positive can serve as visual metaphors for how we see the landscape and navigate its changing manifestations.
In some of these resulting new works, the positive area is framed within a central oculus, as if training our eyes on the site with a pair of binoculars or a camera’s viewfinder as the borders recede into a negative, latent state. In others, the landscape strobes with alternating passages of positive and negative tones, rendering otherworldly horizons with meticulous detail. By integrating the negative (normally considered as a means to an end) into the finished piece, McCaw disrupts our visual and emotional expectations, inviting a closer look at changing environments we might otherwise dismiss as familiar or easily understood.
The sun is both subject and instrument in McCaw’s iconic “Sunburn” works, one-of-a-kind photographic objects that are literally drawn with light. Here, the high-powered lenses of his handmade cameras harness the power of the sun, allowing it to literally burn its path across light sensitive paper loaded directly into the camera. Over exposures lasting anywhere between several seconds to entire days, the sun renders its own presence as circular burns or searing arcs over the horizon.
Reversals & Revolutions features an array of technically ambitious “Sunburn” works in which the solar incisions are scorched across multiple panels during sequential exposures or arranged in cartographic grids. Each work results from careful choreography between artist and nature, planning and chance. McCaw travels to locations based on the angle and power of the sun at a particular time of year, composing remarkable images that may trace the sun’s unbroken path from evening to morning in the Alaskan summer, when it never sets below the horizon, or its vertical ascent in the Galapagos, near the equator. McCaw’s “Sunburn” works are tactile, visceral, and temporal, the spin of the Earth and the passage of time made material.
Taken together, Reversals & Revolutions offers a profound meditation on analog photography’s foundational elements and its continued capacity for reinvention. Across both bodies of work, McCaw pushes the medium beyond conventions, revealing landscapes shaped not only by geography and astronomy, but by the artist’s own experimental rigor. The exhibition underscores McCaw’s role as one of contemporary photography’s most inventive practitioners, inviting viewers to reconsider the familiar world through processes that are as conceptually rich as they are visually arresting.
Chris McCaw (b. 1971, lives and works in Pacifica, CA)’s work is collected by such institutions as the Getty Museum, Los Angeles, CA; Los Angeles County Museum of Art, CA; Museum of Fine Arts, Houston, TX; National Gallery of Art, Washington DC; Philadelphia Museum of Art, PA; San Francisco Museum of Modern Art, CA; Smithsonian American Art Museum, Washington DC; Victoria and Albert Museum, London, UK; and Whitney Museum of American Art, New York, NY, among many others.
He is the recipient of awards including the Andy Warhol Foundation’s New Works Grant and Southern Exposure’s Alternative Exposure Grant, as well as the Emerging Icon in Photography Award from the George Eastman Museum. McCaw’s work has been the subject of two monographic publications: Sunburn (Candela Books, 2012) and Marking Time (Datz Press, 2023).
January 21, 2026 through March 7, 2026
Tuesday through Saturday, 10:30 a.m. to 5:30 p.m.
Opening Reception: Friday, January 23, 2026, 6:00 p.m. to 8:00 p.m.
Building C, First Floor, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
Free
Haines Gallery:
HainesGallery.com
(415) 397-8114
art@HainesGallery.com
Chris McCaw:
ChrisMcCaw.com
(415) 533-5484
chris@ChrisMcCaw.com
Sign up today for the latest news from Fort Mason Center For Arts & Culture.
SF Camerawork (SFC) hosts Charles Victor Brewer – Dear Drag: A Pop-Up Exhibition in Landmark Building A at Fort Mason Center For Arts & Culture (FMCAC). Dear Drag is a heartfelt love letter to Sacramento, CA’s vibrant drag community.
SF Camerawork (SFC) hosts Charles Victor Brewer — Dear Drag: A Pop-Up Exhibition in Landmark Building A at Fort Mason Center For Arts & Culture (FMCAC). Dear Drag is a heartfelt love letter to Sacramento, CA’s vibrant drag community.
Highlighting the spirit, diversity, and creative force of Sacramento drag, this project embraces self-expression, chosen family, and artistic agency through intimate photographic storytelling – celebrating the beauty, resilience, and joy of drag culture.
Through tender portraits and collaborative image-making, Brewer captures the nuances of a community that continues to shape Sacramento’s cultural landscape. Each photograph honors the performer’s individuality while recognizing the shared histories, struggles, and triumphs that bind them together.
The series invites viewers to witness drag not only as performance, but as a powerful mode of self-definition and resistance. By centering the voices and visions of local artists, Dear Drag uplifts the everyday brilliance that sustains queer communities. This pop-up exhibition offers a rare and moving glimpse into a world built on creativity, kinship, and unapologetic authenticity.
Charles Victor Brewer is a visual artist with a passion for photographic storytelling. Brewer finds photography to be one of the most influential and impactful forms of communication within contemporary society and evolutionary history. With photography’s vastness of possibility, the medium creates an exponentially open space for communication, thought and inspiration within daily life, understanding of the world, and as the most previous keepsake of memory.
With a great interest in portrait, editorial, and commercial photography, Brewer’s work displays a range of creativity through a diversely curated portfolio and interests within professional photographic practice. From individual, environmental portraits to large-scale, commercial productions, Brewer is dedicated to working closely with each client in bringing their vision to life through the power of imagery and story.
Brewer has a Bachelors of Fine Art in Photography from California State University Sacramento. He is currently based outside of Sacramento and travels wherever the creative wind blows.
Wednesday through Friday, December 3 to 5, 2025; Thursday through Saturday, December 11 to 13, 2025; Thursday through Saturday, December 18 to 20, 2025; Friday and Saturday, January 2 and 3, 2026; and Wednesday to Friday, January 7 to 9, 2026.
Hours on the above days are 11:00 a.m. to 6:00 p.m.
Opening Reception with the artist:
Saturday, December 13, 2025, 6:00 p.m. to 8:00 p.m.
SF Camerawork, Building A, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
Free
SFCamerawork.org
(415) 487-1011
info@SFCamerawork.org
Charles Victor Brewer:
CharlesVictorPhoto.com
(707) 398 -7480
charles@CharlesVictorPhoto.com
Sign up today for the latest news from Fort Mason Center For Arts & Culture.
Museo Italo Americano presents “Legàmi/Bonds” at Fort Mason Center For Arts & Culture. “Legàmi/Bonds” connects art, artists, and donors through selected works by 44 artists from the Museo’s permanent collection.
“Legàmi/Bonds” connects art, artists, and donors through selected works by 44 artists from the Museo’s permanent collection.
The exhibition features works from local artists Beniamino Bufano and Lawrence Ferlinghetti to international figures such as Giorgio De Chirico and Tina Modotti.
Through Friday, March 20, 2026
Tuesday to Saturday, 12:00 p.m. to 4:00 p.m.
Sunday, 10:00 a.m. to 2:00 p.m.
Museo Italo Americano, Building C, First Floor, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
$10
Free On Thursdays
Museo Italo Americano presents “Legàmi/Bonds” at Fort Mason Center For Arts & Culture.
“Legàmi/Bonds” connects art, artists, and donors through selected works by 44 artists from the Museo’s permanent collection.
Sign up today for the latest news from Fort Mason Center For Arts & Culture.
Fort Mason Center for Arts & Culture (FMCAC) presented San Francisco’s first drive-in movie theater, convening audiences and community.
From September 2020 through December 2021, Fort Mason FLIX welcomed more than 100,000 guests to San Francisco’s first waterfront movie drive-in. Fort Mason Flix showed hundreds of films, and kept cultural programming alive throughout the COVID-19 pandemic. Diverse cultural organizations, including the Roxie Theater, CAAM, SF Film, the San Francisco Symphony Orchestra, the San Francisco Girls Chorus, and the Sundance Film Festival, convened their creative communities at Fort Mason FLIX.
From September 18, 2020 to June 14, 2021, Fort Mason Center for Arts & Culture presented San Francisco’s first drive-in movie theater.
