Presented by Fort Mason Art and the Kramlich Art Foundation.
Fort Mason Center for Art & Culture and the Kramlich Art Foundation present the San Francisco Bay Area premiere of the pioneering British artist, Anthony McCall’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.
The exhibition presents Line Describing a Cone (1973), Conical Solid (1974), and Cone of Variable Volume (1974), works that invite viewers to step away from the screen and into the sculptural beams of projected light themselves. As theatrical haze catches the projector’s light, evolving geometric forms materialize in three-dimensional space, creating elegant structures that viewers can walk through, touch, and interact with. Over the course of their durations, these works transform spectators into participants and galleries into playing fields, making space for both contemplation and action.
The works begin as film animations. In Line Describing a Cone, a single white point extends into a slowly curving line, building to a full circle across its running time. The 10-minute Conical Solid (1974) projects a flat blade of light that rotates from a fixed central axis at varying speeds. Cone of Variable Volume shifts the size of a complete circle across four movements, one of which, McCall notes, builds “so that it resembles a very slow breathing.”
McCall developed these works after relocating from London to New York City in 1973, seeking to create what he described as a “film that could exist only in the moment of projection with an audience, without reference to an ‘elsewhere.’”
The solid light works emerged at the intersection of avant-garde cinema, Minimalism, and Structural Film, while also anticipating parallel movements in expanded cinema, participatory performance, and today’s immersive video installations.
Anthony McCall: First Light continues a partnership initiated in 2015-16 with Janet Cardiff’s Forty-Part Motet, through an ongoing collaboration among the Kramlich Art Foundation and Fort Mason Art.
RELATED PROGRAMMING:
“First Light Sessions” #1 performance.
“Do You See What I See” film series.
“First Light Sessions” #2 performance.
Anthony McCall (b. St Paul’s Cray, UK, 1946) lives and works in Manhattan. His work’s historical importance has been recognized in major exhibitions including Into the Light: the Projected Image in American Art 1964-77, Whitney Museum of American Art (2001-02); The Expanded Screen: Actions and Installations of the Sixties and Seventies, Museum Moderner Kunst, Vienna (2003-04); Beyond Cinema: the Art of Projection, Hamburger Bahnhof, Berlin (2006-07); The Cinema Effect: Illusion, Reality, and the Projected Image, Hirshhorn Museum, Washington DC (2008); and On Line, Museum of Modern Art (2010-11).
Recent solo exhibitions have been presented at Tate Modern, UK (traveling to Oklahoma Contemporary, U.S., in March 2026); Guggenheim Bilbao, Spain; Fubon Art Museum, Taiwan; Futura Seoul Museum, South Korea; The Hepworth Wakefield, UK; plus Pioneer Works, Sean Kelly Gallery, and the Buffalo AKG Art Museum (Albright Knox Art Gallery), U.S.
January 10 through March 8, 2026
Wednesdays to Saturdays:
12:00 p.m. to 6:00 p.m.
Sundays: 11:00 a.m. to 5:00 p.m.
Saturday, March 7, 2026: Open 11:00 a.m. to 1:00 p.m.;
Re-Opens: 3:00 p.m. to 7:00 p.m. with curator talk at 6:00 p.m.
Gallery 308, Building A, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
Fort Mason Center for Arts & Culture and the Kramlich Art Foundation present the San Francisco Bay Area premiere of the pioneering British artist Anthony McCall’s revolutionary “solid light” works from the early 1970s.
Anthony McCall:
AnthonyMcCall.com
Kramlich Art Foundation:
KramlichCollection.org
Sign up today for the latest news from Fort Mason Center For Arts & Culture.
Haines Gallery presents Crown Of Flames, their second solo exhibition with Iranian American artist Shiva Ahmadi, at Fort Mason Center For Arts & Culture.
Conceived before the current Middle East conflict, Crown Of Flames features new and recent works that continue Ahmadi’s long-term exploration of conflict, corruption, and instability, informed by her own experiences and the current news cycle. The works on view unfold as both personal testimony and global allegory, at once dazzling and devastating. Across painting, sculpture, and video, Ahmadi fuses formal beauty with an undercurrent of violence, drawing uneasy parallels between her brightly painted scenes and global issues of war, resource extraction, and the rise of authoritarian regimes – in the U.S., Iran, Venezuela, and beyond.
Crown of Flames debuts Ahmadi’s new video work of the same title, a two-channel animation comprising hundreds of individual, hand-painted watercolors that she transforms into vivid, moving images that pulse with life. The story unfolds across two parallel worlds: a lush jungle inhabited by playful monkeys on one screen, and a desert oil field and its looming, pumping machinery on the other. Drawing from diverse storytelling traditions ranging from Persian miniature painting to George Orwell’s Animal Farm, Ahmadi crafts a contemporary parable about land grabs and resource wars, and the consequences for individuals and the environment.
Ahmadi’s new animation is shown alongside a suite of related limited-edition prints, as well as intricate embellished sculptures from her “Oil Barrel” and “Pressure Cooker” series, and luminous watercolor paintings are centered upon female figures. Taken together, the works on view in Crown Of Flames offer a fable of our times.
As Ahmadi reminds us, “For me it really doesn’t matter where you live – whether it is Iran, Syria, or Detroit. My work deals with abuse of power and corruption.” In a period shaped by increasing polarization and instability, the exhibition urgently suggests the necessity of seeing clearly – and refusing to look away.
[b. 1975, Tehran, Iran; lives and works in the San Francisco Bay Area] Shiva Ahmadi’s works have been exhibited internationally at museums including the Academy of Fine Arts, Philadelphia; Aga Khan Museum, Toronto, Canada; Asian Art Museum, San Francisco; Asia Society Museum, New York; Grey Art Gallery, New York University; Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis, CA; Mori Art Museum, Tokyo, Japan; Royal Ontario Museum, Toronto, Canada; and Victoria and Albert Museum, London.
Ahmadi has been awarded a Pollock-Krasner Foundation Grant, Anonymous Was a Woman Award, and a Career Achievement Award in Art, Art History, and Design from Wayne State University, Detroit, MI. Shiva Ahmadi, a monographic publication of her work, was published in 2017 by Skira.
March 13, 2026 through April 25, 2026
Tuesday through Saturday, 10:30 a.m. to 5:30 p.m.
Opening Reception: Friday, March 13, 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
Shiva Ahmadi:
ShivaAhmadi.com
shiva_ahmadi@HotMail.com
Sign up today for the latest news from Fort Mason Center For Arts & Culture.
Presented by Fort Mason Art and the Kramlich Art Foundation.
Fort Mason Center for Art & Culture and the Kramlich Art Foundation present the San Francisco Bay Area premiere of the pioneering British artist, Anthony McCall’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.
The exhibition presents Line Describing a Cone (1973), Conical Solid (1974), and Cone of Variable Volume (1974), works that invite viewers to step away from the screen and into the sculptural beams of projected light themselves. As theatrical haze catches the projector’s light, evolving geometric forms materialize in three-dimensional space, creating elegant structures that viewers can walk through, touch, and interact with. Over the course of their durations, these works transform spectators into participants and galleries into playing fields, making space for both contemplation and action.
The works begin as film animations. In Line Describing a Cone, a single white point extends into a slowly curving line, building to a full circle across its running time. The 10-minute Conical Solid (1974) projects a flat blade of light that rotates from a fixed central axis at varying speeds. Cone of Variable Volume shifts the size of a complete circle across four movements, one of which, McCall notes, builds “so that it resembles a very slow breathing.”
McCall developed these works after relocating from London to New York City in 1973, seeking to create what he described as a “film that could exist only in the moment of projection with an audience, without reference to an ‘elsewhere.’”
The solid light works emerged at the intersection of avant-garde cinema, Minimalism, and Structural Film, while also anticipating parallel movements in expanded cinema, participatory performance, and today’s immersive video installations.
Anthony McCall: First Light continues a partnership initiated in 2015-16 with Janet Cardiff’s Forty-Part Motet, through an ongoing collaboration among the Kramlich Art Foundation and Fort Mason Art.
RELATED PROGRAMMING:
“First Light Sessions” #1 performance.
“Do You See What I See” film series.
“First Light Sessions” #2 performance.
Anthony McCall (b. St Paul’s Cray, UK, 1946) lives and works in Manhattan. His work’s historical importance has been recognized in major exhibitions including Into the Light: the Projected Image in American Art 1964-77, Whitney Museum of American Art (2001-02); The Expanded Screen: Actions and Installations of the Sixties and Seventies, Museum Moderner Kunst, Vienna (2003-04); Beyond Cinema: the Art of Projection, Hamburger Bahnhof, Berlin (2006-07); The Cinema Effect: Illusion, Reality, and the Projected Image, Hirshhorn Museum, Washington DC (2008); and On Line, Museum of Modern Art (2010-11).
Recent solo exhibitions have been presented at Tate Modern, UK (traveling to Oklahoma Contemporary, U.S., in March 2026); Guggenheim Bilbao, Spain; Fubon Art Museum, Taiwan; Futura Seoul Museum, South Korea; The Hepworth Wakefield, UK; plus Pioneer Works, Sean Kelly Gallery, and the Buffalo AKG Art Museum (Albright Knox Art Gallery), U.S.
Through March 8, 2026
Wednesdays to Saturdays:
12:00 p.m. to 6:00 p.m.
Sundays: 11:00 a.m. to 5:00 p.m.
Saturday, March 7, 2026: Open 11:00 a.m. to 1:00 p.m.;
Re-Opens: 3:00 p.m. to 7:00 p.m. with curator talk at 6:00 p.m.
Gallery 308, Building A, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
Fort Mason Center for Arts & Culture and the Kramlich Art Foundation present the San Francisco Bay Area premiere of the pioneering British artist Anthony McCall’s revolutionary “solid light” works from the early 1970s.
Anthony McCall:
AnthonyMcCall.com
Kramlich Art Foundation:
KramlichCollection.org
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.
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.
SF Camerawork presents And Yet, We See, a solo exhibition by Iranian-born photographer and multimedia artist Nasim Moghadam, curated by Zoë Latzer, at Fort Mason Center For Arts & Culture. The exhibition invites audiences to encounter immersive photographic installations that explore visibility, agency, and resilience in the face of erasure.
For more than a decade, Moghadam has developed a practice that transforms photography into sculptural forms and site-specific installations. Her work layers images, textures, and materials to create environments that honor courage, bear witness, and amplify voices often suppressed under surveillance and oppression. Across the gallery, photographs become physical and conceptual gestures, prompting reflection on what it means to see – and to be seen – when power seeks to erase presence.
“In And Yet, We See, Nasim Moghadam’s photography transforms images into acts of witnessing,” says curator Zoë Latzer. “Her work makes visible what power seeks to erase and invites us to confront the agency, courage, and resilience of those who are often made invisible.”
And Yet, We See transforms the gallery into a space of witness, reflection, and engagement, offering audiences the opportunity to experience photography as both image and immersive encounter.
Born in Tehran, Nasim Moghadam holds an MFA in Studio Art and a BFA in Graphic Design. Her work has been exhibited internationally and at San Francisco Bay Area venues including SFMOMA’s Soapbox Derby, SOMArts, Southern Exposure, Museum of Craft and Design, Minnesota Street Project, Root Division, and Kala Art Gallery.
She has received awards from the Foundation for Contemporary Arts and the H.A.R.D. Foundation, and completed residencies at Recology, Kala Art Institute, Cubberley Artist Studio Program, and Building 180.
January 20, 2026 through April 4, 2026
Days & hours vary, see SF Camerawork’s current hours
Opening Reception With The Artist: Saturday, January 24, 2026, 5:00 p.m. to 7:00 p.m.
Building A, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
Free
Nasim Moghadam’s And Yet, We See is on view at SF Camerawork.
SF Camerwork:
SFCamerawork.org
(415) 487-1011
info@SFCamerawork.org
Nasim Moghadam (Artist):
NasimMoghadam.com
nasimmoghadam77@gmail.com
Zoë Latzer (Curator):
ZoeLatzer.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.
Presented by Fort Mason Art and the Kramlich Art Foundation.
In conjunction with Fort Mason Art’s current exhibition, Anthony McCall: First Light, three notable San Francisco Bay Area musicians perform live in the gallery, improvising in response to the solid light works on view.
Musicians Travis Andrews (guitar), David Coulter (musical saw/multi-instrumentalist), and Andy Meyerson (percussion) perform live in the gallery, improvising in response to the solid light works on view. As visitors move through the space, touching and interacting with the cones of projected light, they immerse themselves in these cinematic sculptures and the live music, journeying through and creating their own perspectives of sight and sound. The program is modeled on “Four Simultaneous Soloists,” a music series organized by David Grubbs for a previous McCall exhibition.
Travis Andrews (Guitar) is the co-founder, Executive Director, and electric guitarist in The Living Earth Show. In his work, he strives to use the tools of classical and contemporary music to foreground the voices and perspectives often marginalized by the tradition and its presentation. Highly in demand as a solo artist, Andrews has been a featured soloist with the San Francisco Symphony, the Los Angeles Philharmonic, the Dallas Symphony Orchestra, the San Francisco Contemporary Music Players, Eco Ensemble, and the Left Coast Chamber Ensemble. He has performed with John Doe of X, Bryce Dessner of The National, Terry Riley, and Kronos Quartet. A musical omnivore, Andrews also performs with avant-thrash trio Freighter, chambercore band miRthkon, and queer nü metal band COMMANDO.
David Coulter (Musical Saw/Multi-Instrumentalist) is an English-born multidisciplinary artist, multi-instrumentalist musician, composer, director, and educator based in Oakland, CA. Since the 1980s, he has performed, directed shows, produced records, and played his musical saw and other assorted weird and less-weird instruments in studios, theatres, and on stages and recordings around the world with the likes of The Pogues, Tom Waits, Robert Wilson, Kronos Quartet, Laurie Anderson, Marianne Faithfull, Yoko Ono, Hal Willner, and Damon Albarn and Gorillaz.
Andy Meyerson (Percussion) is a drummer and percussionist based in San Francisco. He is the Artistic Director, co-founder, and percussionist of The Living Earth Show, one of the premiere experimental classical ensembles in the U.S. He is also the drummer and co-founder of queer nü metal collective COMMANDO, music director of renegade dance company Post:ballet, drummer for Russian feminist protest and performance art group Pussy Riot, the artistic director and CEO of uncompromising experimental chamber music record label Earthy Records, and a renowned solo artist. Most recently he guest-curated San Francisco Performances’ annual PIVOT Festival, three programs surveying the networks, interconnections, and impacts of new music.
Saturday, March 7, 2026
3:00 p.m. to 4:00 p.m.
Gallery 308, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
Free to $60 sliding scale (reserve in advance)
FortMason.org
(415) 345-7500
contact@FortMason.org
Travis Andrews:
TheLivingEarthShow.com
David Coulter:
DavidCoulter.co.uk
Andy Meyerson:
TheLivingEarthShow.com
Sign up today for the latest news from Fort Mason Center For Arts & Culture.
Join PhotoAlliance for the 2026 lecture series for “An Evening Of Yosemite With Mark Citret and Robel Fessehatzion.” This evening of discussion highlights each artist’s innovative approach to contemporary photography and its larger role in visual culture.
PhotoAlliance’s first lecture of the Spring 2026 season is a celebration of Yosemite. This lecture features two artists who have spent extensive time exploring and photographing Yosemite, each with their own unique styles. The event also includes a slideshow of the PhotoAlliance artist community’s favorite views of Yosemite.
This event promises to be an inspiring and thought-provoking evening. The artists present an overview of past, present, and upcoming work, as well as fielding questions from the audience at the end of the talk.
Mark Citret (b. 1949) grew up in San Francisco and began photographing in 1968. He received both his BA and MA in Art from San Francisco State University. From 1970–1973, Mark assisted Ansel Adams at his acclaimed Yosemite Workshops, working with Adams in the darkroom as well as in the field. In the mid to late 1980s he produced a large body of work titled, Unnatural Wonders, which is his personal survey of architecture in the national parks. He spent four years, 1990 to 1993, photographing Coastside Plant, a massive construction site in the southwest corner of San Francisco. Since he moved to his current home in Daly City, CA in 1986, he has been photographing the play of ocean and sky from the cliff behind his house.
He taught photography for both UC Santa Cruz. and UC Berkeley Extensions for more than 20 years and has been “Artist in Residence” in Yosemite National Park (2016), and Zion National Park (2019). He has also given lectures and workshops at organizations such as the Center for Photography at Woodstock, the Ansel Adams Gallery, and Santa Fe Workshops. His work is represented in museums including the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art, the New Orleans Museum of Art, the Santa Barbara Museum of Art, the University of Arizona’s Center for Creative Photography, and the Monterey Museum of Art. His books include Halcott Center: A Catskill Mountain Valley, with an introduction by Ansel Adams; Along The Way, with an introduction by Ruth Bernhard; and Parallel Landscapes, with an introduction by Al Weber.
Robel Fessehatzion is a self-taught African American photographer based in the San Francisco Bay Area.
Influenced by his upbringing near the foothills of the northern Sierra, his work focuses on the natural environment and identity. His creative research seeks to transform the landscape into a place of belonging, by highlighting the harmony between existing elements while thoughtfully incorporating natural light and color within the frame.
Fessehatzion’s series Crossing The Boundary Maintenance utilizes self-portraiture as way to explore and discover his own identity and belonging in the natural landscape, while the series Reclamation uses visual imagery to challenge perceptions of who belongs in the United States national parks, particularly Yosemite, given its connection to the legacy of the Buffalo Soldiers. It Reclamation highlights how members of the African Diaspora are confronting both historic and nuanced forms of discrimination. By exploring, seeking, and reestablishing connections with nature, they assert their rightful place in this landscape and reclaim their relationship with the land.
Sunday, February 22, 2026
5:30 p.m. to 7:30 p.m.
Bayfront Theatre, Building B, Third Floor, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
$25
PhotoAlliance:
www.PhotoAlliance.org
photo@PhotoAlliance.org
Mark Citret:
ArtNet.com
Robel Fessehatzion:
RobelKF.com
Sign up today for the latest news from Fort Mason Center For Arts & Culture.
Join Fort Mason Center For Arts & Culture’s resident organization, Arion Press, a fine art, handcrafted artist book publisher, for “Craft Talk #5: Meditations on Gold With Maya Kini,” part of a continuing series of events.
Local goldsmith and poet Maya Kini shares insights into her creative process. Grounded in goldsmithing practice, these meditations reflect on craft as a site where memory, history, and value converge. Gold is approached as a performative material with its worth activated through labor, display, exchange, and inheritance.
Through heirlooms and handmade objects, this talk considers how intimate acts of wearing and passing down gold are entangled with histories of labor, displacement, exploitation, and environmental destruction, and how contemporary goldsmithing might hold, reveal, or resist these layered legacies.
Maya Kini is a poet and goldsmith based in San Francisco. Her writing explores the intersections of craft, language, and the body – examining how making and materiality shape perception, memory, and repair. As a goldsmith, Kini reflects on material transformation, endurance, and loss, as well as the many ways gold has shaped history and carried stories across time. Part artist, part historian, her practice seeks to understand how materials perform both physically and poetically.
Kini’s jewelry and sculptural work have been exhibited nationally and internationally and featured in numerous publications. She has taught at Penland School of Crafts, California State University (CSU)–Sacramento, and Sacramento City College. She holds an MFA in Metalsmithing from Cranbrook Academy of Art and a BA in Spanish Literature from Reed College. She is a 2025–26 Brown Handler Resident with the Friends of the San Francisco Public Library. Kini works out of a studio cooperative on historic Varda Landing in Sausalito, CA.
Thursday, February 19, 2026
6:30 p.m. to 8:30 p.m. (Doors 6:00 p.m.)
Talk is one hour.
Reception to follow in the Arion Press Gallery, First Floor
Arion Press & Bayfront Theatre, Building B, First & Third Floors, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
$10
Arion Press:
ArionPress.com
www.EventBrite.com
(415) 668-2542
ArionPress@ArionPress.com
Maya Kini:
MayaKini.com
Sign up today for the latest news from Fort Mason Center For Arts & Culture.
Presented by Fort Mason Art and the Kramlich Art Foundation.
Fort Mason Center for Art & Culture and the Kramlich Art Foundation present the San Francisco Bay Area premiere of the pioneering British artist, Anthony McCall’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.
The exhibition presents Line Describing a Cone (1973), Conical Solid (1974), and Cone of Variable Volume (1974), works that invite viewers to step away from the screen and into the sculptural beams of projected light themselves. As theatrical haze catches the projector’s light, evolving geometric forms materialize in three-dimensional space, creating elegant structures that viewers can walk through, touch, and interact with. Over the course of their durations, these works transform spectators into participants and galleries into playing fields, making space for both contemplation and action.
The works begin as film animations. In Line Describing a Cone, a single white point extends into a slowly curving line, building to a full circle across its running time. The 10-minute Conical Solid (1974) projects a flat blade of light that rotates from a fixed central axis at varying speeds. Cone of Variable Volume shifts the size of a complete circle across four movements, one of which, McCall notes, builds “so that it resembles a very slow breathing.”
McCall developed these works after relocating from London to New York City in 1973, seeking to create what he described as a “film that could exist only in the moment of projection with an audience, without reference to an ‘elsewhere.’”
The solid light works emerged at the intersection of avant-garde cinema, Minimalism, and Structural Film, while also anticipating parallel movements in expanded cinema, participatory performance, and today’s immersive video installations.
Anthony McCall: First Light continues a partnership initiated in 2015-16 with Janet Cardiff’s Forty-Part Motet, through an ongoing collaboration among the Kramlich Art Foundation and Fort Mason Art.
RELATED PROGRAMMING:
“Do You See What I See” film series.
Anthony McCall (b. St Paul’s Cray, UK, 1946) lives and works in Manhattan. His work’s historical importance has been recognized in major exhibitions including Into the Light: the Projected Image in American Art 1964-77, Whitney Museum of American Art (2001-02); The Expanded Screen: Actions and Installations of the Sixties and Seventies, Museum Moderner Kunst, Vienna (2003-04); Beyond Cinema: the Art of Projection, Hamburger Bahnhof, Berlin (2006-07); The Cinema Effect: Illusion, Reality, and the Projected Image, Hirshhorn Museum, Washington DC (2008); and On Line, Museum of Modern Art (2010-11).
Recent solo exhibitions have been presented at Tate Modern, UK (traveling to Oklahoma Contemporary, U.S., in March 2026); Guggenheim Bilbao, Spain; Fubon Art Museum, Taiwan; Futura Seoul Museum, South Korea; The Hepworth Wakefield, UK; plus Pioneer Works, Sean Kelly Gallery, and the Buffalo AKG Art Museum (Albright Knox Art Gallery), U.S.
Through March 8, 2026
Wednesdays to Saturdays:
12:00 p.m. to 6:00 p.m.
Sundays: 11:00 a.m. to 5:00 p.m.
Saturday, March 7, 2026: Open 11:00 a.m. to 1:00 p.m.;
Closed 1:00 p.m. to 5:00 p.m.; Re-Opens 5:00 p.m. to 7:00 p.m.
with curator talk at 6:00 p.m.
Gallery 308, Building A, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
Fort Mason Center for Arts & Culture and the Kramlich Art Foundation present the San Francisco Bay Area premiere of the pioneering British artist Anthony McCall’s revolutionary “solid light” works from the early 1970s.
Anthony McCall:
AnthonyMcCall.com
Kramlich Art Foundation:
KramlichCollection.org
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.
The Night Market is presented by Fort Mason Center for Arts & Culture (FMCAC), Stern Grove Festival, West Coast Craft, Off The Grid, and FMCAC Resident Groups. This popular indoor/outdoor market transforms the historic FMCAC campus into a dynamic showcase of local artisans, cuisine, and entertainment.
Make it a monthly affair at the Night Market 2026. Following the success of an inaugural night market that drew more than 10,000 attendees in December 2024, FMCAC and its partners, West Coast Craft and Off the Grid, are teaming up again for the monthly Fort Mason Friday Night Market series.
The outdoor market transforms the historic FMCAC campus into a dynamic showcase of local artisans, cuisine, and entertainment. This free public event combines the San Francisco Bay Area’s premier craft vendors with outstanding food offerings against a backdrop of stunning waterfront views.
· More than 50 artist and designer craftspeople, curated by West Coast Craft (Outdoors)
· More than 20 beverage and food purveyors curated by Off The Grid (Outdoors)
· Creative workshops from FMCAC residents
· DJs at the Waterfront “Secret Spot” Lounge Stage between Piers 2 and 3 (Gateway and Festival pavilions)
· Seasonal offerings from FMCAC residents Greens Restaurant, The Interval at Long Now, and Radhaus (Building A)
· Public art installations throughout campus
· Extended hours at FLAX Art & Design store (Building D, First Floor)
· Incredible waterfront views and vibes
· Live music curated by Stern Grove Festival
Press & Gallery
Monthly, Friday Nights, April through December 2026
5:00 p.m. to 10:00 p.m.
Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
Free
FortMason.org
(415) 345-7500
contact@FortMason.org
Space reservations available soon:
Sign up today for the latest news from Fort Mason Center For Arts & Culture.
Presented by Fort Mason Art and the Kramlich Art Foundation.
Fort Mason Center for Art & Culture and the Kramlich Art Foundation present the San Francisco Bay Area premiere of the pioneering British artist, Anthony McCall’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.
The exhibition presents Line Describing a Cone (1973), Conical Solid (1974), and Cone of Variable Volume (1974), works that invite viewers to step away from the screen and into the sculptural beams of projected light themselves. As theatrical haze catches the projector’s light, evolving geometric forms materialize in three-dimensional space, creating elegant structures that viewers can walk through, touch, and interact with. Over the course of their durations, these works transform spectators into participants and galleries into playing fields, making space for both contemplation and action.
The works begin as film animations. In Line Describing a Cone, a single white point extends into a slowly curving line, building to a full circle across its running time. The 10-minute Conical Solid (1974) projects a flat blade of light that rotates from a fixed central axis at varying speeds. Cone of Variable Volume shifts the size of a complete circle across four movements, one of which, McCall notes, builds “so that it resembles a very slow breathing.”
McCall developed these works after relocating from London to New York City in 1973, seeking to create what he described as a “film that could exist only in the moment of projection with an audience, without reference to an ‘elsewhere.’”
The solid light works emerged at the intersection of avant-garde cinema, Minimalism, and Structural Film, while also anticipating parallel movements in expanded cinema, participatory performance, and today’s immersive video installations.
Anthony McCall: First Light continues a partnership initiated in 2015-16 with Janet Cardiff’s Forty-Part Motet, through an ongoing collaboration among the Kramlich Art Foundation and Fort Mason Art.
Anthony McCall (b. St Paul’s Cray, UK, 1946) lives and works in Manhattan. His work’s historical importance has been recognized in major exhibitions including Into the Light: the Projected Image in American Art 1964-77, Whitney Museum of American Art (2001-02); The Expanded Screen: Actions and Installations of the Sixties and Seventies, Museum Moderner Kunst, Vienna (2003-04); Beyond Cinema: the Art of Projection, Hamburger Bahnhof, Berlin (2006-07); The Cinema Effect: Illusion, Reality, and the Projected Image, Hirshhorn Museum, Washington DC (2008); and On Line, Museum of Modern Art (2010-11).
Recent solo exhibitions have been presented at Tate Modern, UK (traveling to Oklahoma Contemporary, U.S., in March 2026); Guggenheim Bilbao, Spain; Fubon Art Museum, Taiwan; Futura Seoul Museum, South Korea; The Hepworth Wakefield, UK; plus Pioneer Works, Sean Kelly Gallery, and the Buffalo AKG Art Museum (Albright Knox Art Gallery), U.S.
Through March 8, 2026
Wednesdays to Saturdays:
12:00 p.m. to 6:00 p.m.
Sundays: 11:00 a.m. to 5:00 p.m.
Gallery 308, Building A, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
Fort Mason Center for Arts & Culture and the Kramlich Art Foundation present the San Francisco Bay Area premiere of the pioneering British artist Anthony McCall’s revolutionary “solid light” works from the early 1970s.
Anthony McCall:
AnthonyMcCall.com
Kramlich Art Foundation:
KramlichCollection.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 presents And Yet, We See, a solo exhibition by Iranian-born photographer and multimedia artist Nasim Moghadam, curated by Zoë Latzer, at Fort Mason Center For Arts & Culture. The exhibition invites audiences to encounter immersive photographic installations that explore visibility, agency, and resilience in the face of erasure.
For more than a decade, Moghadam has developed a practice that transforms photography into sculptural forms and site-specific installations. Her work layers images, textures, and materials to create environments that honor courage, bear witness, and amplify voices often suppressed under surveillance and oppression. Across the gallery, photographs become physical and conceptual gestures, prompting reflection on what it means to see – and to be seen – when power seeks to erase presence.
“In And Yet, We See, Nasim Moghadam’s photography transforms images into acts of witnessing,” says curator Zoë Latzer. “Her work makes visible what power seeks to erase and invites us to confront the agency, courage, and resilience of those who are often made invisible.”
And Yet, We See transforms the gallery into a space of witness, reflection, and engagement, offering audiences the opportunity to experience photography as both image and immersive encounter.
Born in Tehran, Nasim Moghadam holds an MFA in Studio Art and a BFA in Graphic Design. Her work has been exhibited internationally and at San Francisco Bay Area venues including SFMOMA’s Soapbox Derby, SOMArts, Southern Exposure, Museum of Craft and Design, Minnesota Street Project, Root Division, and Kala Art Gallery.
She has received awards from the Foundation for Contemporary Arts and the H.A.R.D. Foundation, and completed residencies at Recology, Kala Art Institute, Cubberley Artist Studio Program, and Building 180.
January 20, 2026 through April 4, 2026
Tuesday through Saturday, 11:00 a.m. to 6:00 p.m.
Opening Reception With The Artist: Saturday, January 24, 2026, 5:00 p.m. to 7:00 p.m.
Building A, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
Free
Nasim Moghadam’s And Yet, We See is on view at SF Camerawork.
SF Camerwork:
SFCamerawork.org
(415) 487-1011
info@SFCamerawork.org
Nasim Moghadam (Artist):
NasimMoghadam.com
nasimmoghadam77@gmail.com
Zoë Latzer (Curator):
ZoeLatzer.com
Sign up today for the latest news from Fort Mason Center For Arts & Culture.
Presented by Fort Mason Art and the Kramlich Art Foundation.
Fort Mason Center for Art & Culture and the Kramlich Art Foundation present the San Francisco Bay Area premiere of the pioneering British artist, Anthony McCall’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.
The exhibition presents Line Describing a Cone (1973), Conical Solid (1974), and Cone of Variable Volume (1974), works that invite viewers to step away from the screen and into the sculptural beams of projected light themselves. As theatrical haze catches the projector’s light, evolving geometric forms materialize in three-dimensional space, creating elegant structures that viewers can walk through, touch, and interact with. Over the course of their durations, these works transform spectators into participants and galleries into playing fields, making space for both contemplation and action.
The works begin as film animations. In Line Describing a Cone, a single white point extends into a slowly curving line, building to a full circle across its running time. The 10-minute Conical Solid (1974) projects a flat blade of light that rotates from a fixed central axis at varying speeds. Cone of Variable Volume shifts the size of a complete circle across four movements, one of which, McCall notes, builds “so that it resembles a very slow breathing.”
McCall developed these works after relocating from London to New York City in 1973, seeking to create what he described as a “film that could exist only in the moment of projection with an audience, without reference to an ‘elsewhere.’”
The solid light works emerged at the intersection of avant-garde cinema, Minimalism, and Structural Film, while also anticipating parallel movements in expanded cinema, participatory performance, and today’s immersive video installations.
Anthony McCall: First Light continues a partnership initiated in 2015-16 with Janet Cardiff’s Forty-Part Motet, through an ongoing collaboration among the Kramlich Art Foundation and Fort Mason Art.
Anthony McCall (b. St Paul’s Cray, UK, 1946) lives and works in Manhattan. His work’s historical importance has been recognized in major exhibitions including Into the Light: the Projected Image in American Art 1964-77, Whitney Museum of American Art (2001-02); The Expanded Screen: Actions and Installations of the Sixties and Seventies, Museum Moderner Kunst, Vienna (2003-04); Beyond Cinema: the Art of Projection, Hamburger Bahnhof, Berlin (2006-07); The Cinema Effect: Illusion, Reality, and the Projected Image, Hirshhorn Museum, Washington DC (2008); and On Line, Museum of Modern Art (2010-11).
Recent solo exhibitions have been presented at Tate Modern, UK (traveling to Oklahoma Contemporary, U.S., in March 2026); Guggenheim Bilbao, Spain; Fubon Art Museum, Taiwan; Futura Seoul Museum, South Korea; The Hepworth Wakefield, UK; plus Pioneer Works, Sean Kelly Gallery, and the Buffalo AKG Art Museum (Albright Knox Art Gallery), U.S.
Through March 8, 2026
Wednesdays to Saturdays:
12:00 p.m. to 6:00 p.m.
Sundays: 11:00 a.m. to 5:00 p.m.
Gallery 308, Building A, Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
Fort Mason Center for Arts & Culture and the Kramlich Art Foundation present the San Francisco Bay Area premiere of the pioneering British artist Anthony McCall’s revolutionary “solid light” works from the early 1970s.
Anthony McCall:
AnthonyMcCall.com
Kramlich Art Foundation:
KramlichCollection.org
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Bringing together an international roster of leading contemporary design and art galleries, FOG Design+Art 2026 presents more than 60 prominent exhibitors at Fort Mason Center For Arts & Culture (FMCAC). FOG offers visitors the opportunity to experience the best of art and design from around the world, all in one place.
FOG Design+Art 2026 is located in Piers 2 and 3 (Gateway Pavilion and Festival Pavilion). The Gateway Pavilion (Pier 2) hosts the FOG FOCUS invitational, which showcases art by emerging artists. FOG FOCUS features more than 15 exhibitors, as well as art installations, activations, and performances on-site.
The 2026 fair includes galleries from Barcelona, Chicago, Hong Kong, London, Los Angeles, Paris, Milan, New York, and San Francisco, among others, with longtime participants and a selection of more than 15 FOG FOCUS galleries; including: Crèvecœur (Paris), François Ghebaly (Los Angeles and New York), Municipal Bonds (San Francisco), and Yutaka Kikutake Gallery (Tokyo).
In addition to the exhibitions on view, the FOG Fair presents FOG Talks, a programming series that explores ideas and issues relevant to the fields of art, design, aesthetics, and the contemporary world, in the FOG Theater. The programs are included free with fair admission.
General Admission tickets are $35 in advance ($38.34 including fees) and $40 after January 21, 2026 (plus fees). The four-day Fair Pass costs $95 in advance ($100.51 including fees) for admission to the Fair, Thursday to Sunday, January 22 to 25, 2026, and $100 after January 21, 2026 (plus fees).
The FOG Design+Art Preview Gala benefiting SFMOMA happens on Wednesday, January 21, 2026, from 4:00 p.m. to 10:00 p.m. Tiered entry tickets range in price from the $250 Supporter level (single entry at 7:00 p.m.) to the $20,000 Titanium Circle packages (10 entries at 4:00 p.m.). Bronze, Silver, Gold, and Platinum ticket packages include early access and prices range from $1,000 to $10,000. For more information, contact FOGPreviewGala@SFMOMA.org or (415) 618-3263.
Wednesday, January 21, 2026 through
Sunday, January 25, 2026
Wednesday, 4:00 p.m. to 10:00 p.m. (Gala)
Thursday, 11:00 a.m. to 7:00 p.m.
Friday, 11:00 a.m. to 7:00 p.m.
Saturday, 11:00 a.m. to 7:00 p.m.
Sunday, 11:00 a.m. to 5:00 p.m.
Gateway Pavilion (Pier 2) and Festival Pavilion (Pier 3), Fort Mason Center for Arts & Culture, 2 Marina Boulevard, San Francisco
$20 to $100
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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
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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.
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.
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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.
Fort Mason Center for Arts & Culture (FMCAC) and the San Francisco Museum of Modern Art (SFMOMA) co-presented the California debut of Janet Cardiff’s immersive sound installation The Forty Part Motet.
Fort Mason Center for Arts & Culture and the San Francisco Museum of Modern Art (SFMOMA) co-presented the California debut of Janet Cardiff’s immersive sound installation The Forty Part Motet. The Forty Part Motet was a 40-part choral performance of English composer, Thomas Tallis’s 16th-century composition Spem in Alium, sung by the Salisbury Cathedral Choir. The performance was played in a 14-minute loop that included 11 minutes of singing and three minutes of intermission.
Individually recorded parts were projected through 40 speakers arranged inward in an oval formation, which allowed visitors to walk throughout the installation, listening to individual voices along with the whole. Cardiff’s layering of voices created an emotionally evocative sound sculpture that feels intimate, even within a public space.
About the Artist: Cardiff lives in British Columbia where she works in collaboration with her partner George Bures Miller. The artist is internationally recognized for immersive multimedia works that create transcendent multisensory experiences and draw the viewer into often unsettling narratives. Cardiff and Miller’s work has been included in recent group exhibitions and biennales such as Soundscapes at The National Gallery, London, the 19th Biennale of Sydney in 2014, and dOCUMENTA (13).
From November 14, 2015 to January 18, 2016, Fort Mason Center for Arts & Culture (FMCAC) and the San Francisco Museum of Modern Art (SFMOMA) co-presented the California debut of Janet Cardiff’s immersive sound installation The Forty Part Motet.
Janet Cardiff:
CardiffMiller.com
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