New York, New York, December 9, 2024 – Today Dia Art Foundation announced the 2025 exhibition schedule across Dia Beacon, Dia Bridgehampton, and Dia Chelsea. The program of single-artist presentations includes Renée Green, Roni Horn, Tehching Hsieh, Hélio Oiticica, Kishio Suga, and Jack Whitten at Dia Beacon, as well as Duane Linklater at Dia Chelsea and Amy Sillman at Dia Bridgehampton.

“The exhibitions Dia will present in 2025 offer both in-depth retrospectives and bold new commissions, reflecting our commitment to fostering long-term relationships with artists while engaging deeply with their evolving practices. I am excited to see how these installations will transform and activate our spaces at Dia Beacon, Dia Bridgehampton, and Dia Chelsea, and provide new ways for our audiences to engage with these remarkable artworks,” said Jessica Morgan, Dia’s Nathalie de Gunzburg Director.

Over the course of 2025, six exhibitions bring new and familiar artists to Dia Beacon’s galleries. In March, Renée Green’s most expansive exhibition in New York to date opens,bringing together existing, reconfigured, and newly commissioned works. Opening in two parts in December 2024 and spring 2025, a presentation of early sculptures by Roni Horn takes over several galleries. A display of rarely exhibited, representative works by Kishio Suga, one of the key members of the Mono-ha movement, opens in July. Following an unprecedented gift to Dia from Tehching Hsieh of 11 career-defining works, the artist’s first-ever retrospective opens in Dia Beacon’s lower level in October. In the same month, a Jack Whitten exhibition celebrates the recent acquisition of works on paper by the artist and expands Dia’s engagement with his practice following a much-lauded painting exhibition, also at Dia Beacon, in 2022. Finally, in November, the presentation of Hélio Oiticica’s monumental Grande Núcleo(Grand Nucleus) (1960—63) brings the artist’s work to Dia Beacon for the first time.

Culminating five years of collaboration with artist Duane Linklater, an exhibition opening at Dia Chelsea in September combines installation, sculpture, dance, and music, and marks the artist’s first large-scale commission in the United States.

Opening in June at Dia Bridgehampton, a yearlong exhibition by painter Amy Sillman features a site-responsive commission transferring the act and concept of printmaking directly to the walls.

2025 exhibition schedule at Dia Beacon, Dia Bridgehampton, and Dia Chelsea

Roni Horn
Opening December 6, 2024, and spring 2025, long-term view
Dia Beacon

Roni Horn features works from Dia’s collection that were realized between 1980 and 1990 and highlight the artist’s early experiments with lead, cast iron, and copper. Horn’s work builds on Minimalism’s reductive geometry and direct placement of objects onto the gallery floor to create sensuous sculptures that explore the mutability of materiality and identity. Her works are dispersed and paired throughout several galleries, unfolding the artist’s enduring exploration of how multiplicity, repetition, and doubling affect perception and create uncanny juxtapositions. Known primarily for her sculptures, Horn works across media, including photography, drawing, and books. The two-part exhibition begins with Post Work III (1986–87), on view starting December 2024, followed by an expanded presentation in the spring.

Roni Horn is curated by Donna De Salvo, senior adjunct curator, special projects, with Min Sun Jeon, assistant curator.

Renée Green: The Equator Has Moved
Opening March 7, 2025, long-term view
Dia Beacon

Renée Green: The Equator Has Moved marks the multidisciplinary artist’s first major solo museum presentation in New York. Since the late 1980s, Green has produced densely layered and knowledge-based installations that return to and adapt strategies of Conceptual art from the 1960s and ’70s. In her uniquely recursive process, Green juxtaposes a range of materials—archival, documentary, and literary fragments, personal and found ephemera, speculative narratives, and her own extant work—to probe the unstable boundaries between fact and fiction, public recollection and personal memory. Constellating historical, reconfigured, and newly commissioned work in the nexus of Dia Beacon’s floor plan—the two expansive central galleries and the perpendicular corridor—this chronologically defiant presentation aptly stages the artist’s practice in contact and context with influential figures of Minimal and Conceptual art key to Dia’s history and Green’s formation.

 

Renée Green is curated by Jordan Carter, curator and co–department head, with Ella den Elzen, curatorial assistant.

Amy Sillman
June 27, 2025–May 25, 2026
Dia Bridgehampton

Since the 1990s, Amy Sillman has produced a prolific body of paintings, zines, prints, and animations featuring an expansive vocabulary of gestures that move seamlessly between figuration and abstraction. The layered, allover method of her paintings often extends to her exhibitions, as she treats the walls like blank pages, spaces for iterative prints and works on paper to accumulate. At Dia Bridgehampton, Sillman extends this totalizing sensibility in a site-responsive commission for the ground-floor gallery, beginning with a question: Can printmaking itself serve as a model and method for a whole room? To answer this question, she proposes a room of printed and hand-painted walls, a ground for other printed and handmade forms to be placed on. Sillman’s extensive writing on color can serve as a particular point of departure for the exhibition, conceived partially in response to the chromatic vibrations of the permanent Dan Flavin installation on the second floor.

Amy Sillman is curated by Jordan Carter, curator and co–department head, with Emily Markert, curatorial assistant.

Kishio Suga
Opening July 25, 2025, long-term view
Dia Beacon

Kishio Suga brings together a representative group of the artist’s sculptures, dating from the 1960s to the mid-1990s, that probe the slippages between knowing and thinking. Works culled from Dia’s holdings are complemented by key loans, together unsettling habitual expectations about the inherent qualities of materials including concrete, motor oil, paraffin wax, metal, and stone in serial, mutually upholding, and at times precarious arrangements. Inflected anew by the architectural parameters of the site in which they are displayed, each of Suga’s sculptures stages a carefully framed incoherence. In conjunction with the exhibition, the artist’s mystery film Being and Murder (1999) will screen for the first time outside of Japan.

Kishio Suga is curated by Matilde Guidelli-Guidi, curator and co–department head, with Min Sun Jeon, assistant curator.

Duane Linklater: 12 + 2
September 12, 2025–January 24, 2026
Dia Chelsea

12 + 2 is an exhibition of new work by Duane Linklater addressing the theme of weathering. The exhibition takes the essential architecture of the teepee—12 poles in a circle plus two off-center—as its unit structure to encompass the galleries of Dia Chelsea in a set of relations. The 12 positions on the circle are taken by sculptures of North American animals enacting typical behaviors. Geological core samples and an ephemeral call-and-response between music and choreography mark and inflect the two off-center positions with spiritual meaning. Live performances scored by eagles with closed eyes and Tanya Lukin Linklater will be accompanied by a series of dialogues convened by poet Layli Long Soldier and a survey of the artist’s moving-image work. Culminating five years of collaboration, 12 + 2 marks Linklater’s first large-scale commission in the United States.

Duane Linklater: 12 + 2 is curated by Matilde Guidelli-Guidi, curator and co–department head, with Liv Cuniberti, curatorial assistant.

Tehching Hsieh
Opening October 3, 2025, long-term view
Dia Beacon

Tehching Hsieh follows the noteworthy gift of 11 career-defining works to Dia in 2024 and is the first retrospective of the Taiwanese-American performance artist’s career. The exhibition covers 1978 through 1999, a period when Hsieh enacted his five iconic One Year Performances followed by a 13-year performance. During the yearlong works, Hsieh lived locked in a cage (One Year Performance1978–1979 [Cage Piece]); punched a time clock every hour on the hour (One Year Performance 1980–1981 [Time Clock Piece]); lived entirely outdoors (One Year Performance 1981–1982 [Outdoor Piece]); lived tied to another artist, Linda Montano (Art/Life One Year Performance 1983–1984 [Rope Piece made in collaboration with Linda Montano]); and refrained from looking at, talking about, and making art (One Year Performance 1985–1986 [No Art Piece]). During Hsieh’s final and longest performance, Tehching Hsieh 1986–1999 (Thirteen Year Plan), the artist made artwork but withheld everything produced from the public. The exhibition is organized around an architectural model that spatially conveys the relative time endured for each performance. 

Tehching Hsieh is co-curated by Humberto Moro, deputy director of program, and Adrian Heathfield, guest curator, with Liv Cuniberti, curatorial assistant.

Jack Whitten
October 24, 2025–May 18, 2026
Dia Beacon

Jack Whitten features a group of recently acquired black-and-white works on paper that the artist realized in the 1970s. The year 1970 saw a shift in Whitten’s studio methods, with systematic process replacing the gestural abstraction of the previous decade. He started to work horizontally on flat surfaces and employ new tools, materials, and methods of his own design in order to generate images that dispense with the artist’s hand. In keeping with the language of contemporary technologies, Whitten began using the term “developed,” as opposed to “designed,” to describe his changed approach to image-making. As the works in this presentation attest, the pulse of experimentation in Whitten’s oeuvre is first felt on paper.

Jack Whitten is curated by Matilde Guidelli-Guidi, curator and co–department head, with Emily Markert, curatorial assistant.

Hélio Oiticica
Opening November 21, 2025, long-term view
Dia Beacon

Hélio Oiticica was a groundbreaking visual artist and theorist whose diverse practice spanned sculpture, drawing, painting, installation, and performance. His expansive body of work laid the foundations for participatory art, offering radical insights into abstraction through the lens of social, political, and economic conditions in Latin America and beyond. As a central figure in Brazil’s Neoconcrete movement and a co-founder of the Tropicália movement, Oiticica’s innovative approach emphasized the importance of spatial awareness and embodied interaction. At the center of the exhibition at Dia Beacon, Grande Núcleo (Grand Nucleus) (1960–63) stands out as one of Oiticica’s most engaging environments. Breaking with the two-dimensional boundaries of earlier series like Metaesquemas or Monocromáticos of the 1950s, Grande Núcleo was created as a complex structure of rectangular panels, painted in a vibrant spectrum from bright yellow to deep orange, and arranged in a dynamic grid of varying angles and heights. Here, the viewer’s corporeal presence, movement, and perception of time and space become integral to the work, actively shaping the relational dynamics within its environment.

Hélio Oiticica is curated by Humberto Moro, deputy director of program, and Ella den Elzen, curatorial assistant.

About Dia Art Foundation

Taking its name from the Greek word meaning “through,” Dia was established in 1974 with the mission to serve as a conduit for artists to realize ambitious new projects, unmediated by overt interpretation and uncurbed by the limitations of more traditional museums and galleries. Dia’s programming fosters contemplative and sustained consideration of a single artist’s body of work and its collection is distinguished by the deep and longstanding relationships that the nonprofit has cultivated with artists whose work came to prominence particularly in the 1960s and ’70s. In addition to Dia Beacon, Dia Bridgehampton, and Dia Chelsea, Dia maintains and operates a constellation of commissions, long-term installations, and site-specific projects, notably focused on Land art, nationally and internationally. These include: 

• Walter De Maria’s The New York Earth Room (1977) and The Broken Kilometer (1979), Max Neuhaus’s Times Square (1977), and Joseph Beuys’s 7000 Eichen (7000 Oaks, inaugurated in 1982 and ongoing), all located in New York
• De Maria’s The Lightning Field (1977), in western New Mexico
• Robert Smithson’s Spiral Jetty (1970), in the Great Salt Lake, Utah
• Nancy Holt’s Sun Tunnels( 1973–76), in the Great Basin Desert, Utah
• De Maria’s The Vertical Earth Kilometer (1977), in Kassel, Germany 
• Cameron Rowland’s Depreciation (2018)

For additional information or materials, contact: 

(U.S. press inquiries)
Hannah Gompertz, Dia Art Foundation, hgompertz@diaart.org, +1 212 293 5598
Melissa Parsoff, Parsoff Communications, mparsoff@parsoff-communications.com,
+1 516 445 5899

(International press inquiries)
Sam Talbot, sam@sam-talbot.com, +44 (0) 772 5184 630