KIRKLAND GALLERY is located at 40 Kirkland Street, Cambridge, MA 02138. Please note that the entrance is on Sumner Road and you will need a Harvard Graduate School of Design ID to enter the building. If you would like to visit the gallery and are not a GSD student, please contact us at



Neither/Nor, Any/All
Exhibition and Performance Series 2018 @ Kirkland Gallery

Neither/Nor, Any/All explores the limits and possibilities of research as practice, exposing and probing the nature of art-making as a multi-modal activity. Each exhibition intervenes in the intersection of procedure and presentation, interrogating the boundaries of medium, method, and materiality. As part of a broader series of collaborative exchanges and co-sponsored events in the Department of Visual and Environmental Studies and the Graduate School of Design at Harvard, the program is divided into unique performance and exhibition events, each reconfiguring the spatio-temporal relations of the studio.

Harvard Department of Visual and Environmental Studies


Unspecified Objects, Marfa TX: The Built Wall
Megan Alvarado-Saggese and Lindsey Lodhie

July 10–19, 2018
Opening Reception: Tuesday, July 10, 7-9 pm

Gallery hours: July 11–12 & July 18–19, 2–6 pm, or by appointment

In 1965, Donald Judd proposed a category of “Specific Objects” to describe the then emerging minimal art “produced in a physical interface with the actual world.” Less than a decade later, Judd took up residence in the small west Texas town of Marfa, utilizing the frontier as an empty canvas for permanent art installations and largely ignoring the cultural, demographic and geo-political dimensions of the region. This project explores the contradictions of site-specific practice at America’s borderlands.


ਸੁਣਿਐ ਦੂਖ ਪਾਪ ਕਾ ਨਾਸੁ  By Listening, Pain and Sin Are Eradicated
T. Brandon Evans (Bunty Singh)

July 31–August 6, 2018
Special Event: Monday, August 6, 4–7 pm

In this series of audio works, curated materials, and textual translations of gurbani (Sikh sacred text) and related material, Brandon Evans/Bunty Singh explores the dimensions of language, performance, and listening as shared spheres of practice in the Sikh religious tradition and in Western contemporary art.

A special event on August 6th will commemorate the 2012 anniversary of the incident at the Oak Creek, Wisconsin gurdwara where several members of the Sikh American community lost their lives in a hate crime attack.  Beginning at 4pm the event will consist of a performance of recitation of the True Name, Waheguru, and all members of the Sikh community and the larger Harvard and Cambridge community are invited to participate for any length of time during the performance. A reception will follow at approximately 6pm.


Jessica Bardsley

August 14-21, 2018
Opening Reception: Tuesday, August 14, 5–7 pm

Gallery hours: Wednesday, August 15, 3–5 pm; Friday, August 17, 3–5 pm; Tuesday, August 21, 3–5 pm; and by appointment

Through drawing and sculpture, Unearthed charts an internal geography, exploring relationships between surface and interiority, matter and affect. Taking inspiration from topography, geology, and theories of emotion, this exhibition assembles artifacts from a quiet, eerie galaxy, a desaturated land, light-years from within.

Jessica Bardsley is an artist and PhD Candidate in the Film and Visual Studies program at Harvard University, where she is also a Film Study Center Fellow. She is the recipient of various awards, including a Princess Grace Award in Film, Grand Prize at 25FPS, the Eileen Maitland Award at the Ann Arbor Film Festival, and Best Short Film at Punto de Vista. She received an MFA and an MA from the School of the Art Institute of Chicago.

Artificial Tears
Lindsey Lodhie

Opening Reception: Tuesday, September 18, 7–8:30 pm

Artificial Tears examines, reconstructs, and reenacts a media ecology of the laboratory by exploring the mis-en-scène of scientific procedure in contemporary studies of lacrimation, i.e. crying. The physical substance of emotion—tears—function as a concrete site for symbolic and material investigation. Treating scientific procedure as a form of film script, this project engages a speculative research method—drawn from method acting and appropriation art—opening scientific media to aesthetic critique. Through this approach, Artificial Tears seeks to expose the aesthetic codes and formal tenets embedded in contemporary scientific method and affective media.

2018.10 Object of Memory