1919 Munich




1932 Dessau
Writing for Dessau's Volksblatt (the daily newspaper), an unknown reviewer said, "The decisive tone of this exhibition does not lie, however, in the Fensterbilder which come to life when the daylight passes through them, but rather in the Glasbilder, which like paintings are solidly framed on the wall. It is characteristic for our time that these pictures have a strong sense of tectonic contemporaneity about them. Indeed they possess the strongest sense of materiality. Alongside the age-old, hallowed media of oil, watercolor, and printmaking techniques, we have found new materials for pictures. And glass has huge developmental possibilities—it would be impact- and fire-resistant, it could be a building material—all self-evident now that we have a glass picture before us. As the painter paints, so Albers creates forms with glass."
Reviews
"At the Bauhaus: Glass Pictures by Josef Albers," Volksblatt, Dessau, May 4, 1932. The full review, translated into English, is available here (pdf).

1932 Erfurt
An August 1932 exhibition of Josef Albers' glass works at the Association for Art and Applied Arts in Erfurt, Germany, met with utter condemnation from the critic for the newspaper of the National Socialists in nearby Weimar, the city that had been home to the Bauhaus school of design from 1919 to 1926. The review is entitled "Kunstbolschewismus"—Art Bolshevism—signaling that from the outset the reviewer considers modern art an act of revolution, but in a bad way. The writer goes on to say, "It is hard to understand why the leadership of the Erfurt Museum considers it necessary to bring to Erfurt the offshoots of the unfruitful and uncreative Dessau Bauhaus, which was stillborn from the first moments of its artistic existence in Weimar. The glass paintings of Professor Albers have no artistic or educational significance, nor the least bit of craftsmanship. They come off as a kind of highly superfluous aesthetic gimmick. This description, which the artist himself offers, might serve as a cautionary example of what art should not be. His so-called "Shard Pictures" resemble the blown glass creations of the middle ages. But while the latter are actual works of art, the artist describes his own works as "shard pictures: demonstrative reminders of economic inflation, created from pieces of broken bottles out of want for other materials, and in a related manner, mounted through reduced technical capacities." [...] That the interpretation of this artistic bolshevism borders on the ridiculous is further shown in the following "formal notes" by the "artist's hand:" thematically, the pictures are abstract. Formally, I am particularly interested in irrational combination, in the forms of mathematical figures, in the dynamic motion of ambiguity through modulating the quantities of colors."
1933 Berlin





1934 Havana
In 1934 Josef Albers was invited to give three lectures at the Lyceum Club, a women's cultural and social club founded in 1929, in Havana, Cuba. Josef's recent work was exhibited in the Lyceum's gallery during the series of lectures, which were reported in the newspaper Ahora. Albers, who did not speak Spanish, was indebted to the Cuban-born designer Clara Porset, who recited the lectures in Spanish after Albers presented them in German. Porset additionally wrote a short piece about Albers for Ahora. Albers and Porset shared a mutual appreciation for each other's work. It was Porset's design for a Mexican Butaque chair that inspired Albers to create a version for Black Mountain College. The Alberses traveled to Cuba with their Black Mountain College colleagues and friends Ted and Bobbie Dreier.
From the Archives
Untitled lecture by Josef Albers at the Lyceum Club, December 29, 1934, Spanish translation (pdf).
"Josef Albers; Teacher and Artist," by Clara Porset in Ahora, 1934, English translation (pdf).
"Josef Albers and the New Architecture," by Jose M. Valdes-Rodriguez in Ahora, 1934, English translation (pdf).








1934 Milan
1934 Rotterdam
1935 Andover, Massachusetts
1935 Asheville, North Carolina
1936 Black Mountain, North Carolina
1936 Cambridge, Massachusetts




1936 Mexico City


1936 New York
1937 Chicago
1937 Chicago
1937 New London, Connecticut
1937 Norfolk, Virginia
1938 Dallas
1938 Minneapolis
1938 New York
1938 New York
1938 New York
1939 Atlanta
1939 Philadelphia
1939 Roanoke, Virginia
1939 Wilmington, North Carolina
1940 New Orleans
1940 San Francisco
1941 Boston
1941 Los Angeles
1941 New York
1942 Albuquerque
1942 Baltimore
1942 Boston
1942 Cambridge, Massachusetts
1942 Kansas City, Missouri
1942 Santa Fe, New Mexico
1943 Denton, Texas
1943 Greensboro, North Carolina
1944 Atlanta
1944 Bennington, Vermont
1945 Des Moines, Iowa
1945 New York
1946 Minneapolis
1946 New York
[FULL TEXT FOR SUB HEADLINE] Egan Gallery, Josef Albers: Graphic Works, 1–12 October 1946. Exhibition of 30 prints traveled to Cranbrook Academy, Bloomfield Hills, Michigan; Mills College, Oakland, California; University Gallery, Minneapolis, Minnesota; Art Institute of Chicago, 7 September–20 October 1946; University of Louisville, Kentucky; Central College, Fayette, Missouri; North Texas State Teachers College, Denton, Texas; Denver Art Museum; Santa Barbara Museum; Pasadena Art Institute; Pat Wall Gallery, Monterey, California1946 New York
1946 Roanoke, Virginia
1946 Tallahassee, Florida
1947 Black Mountain, North Carolina
1947 Memphis
1947 Monterey, California
1947 New York
1947 San Francisco
1948 Bloomfield Hills, Michigan
1948 Chicago
1949 Berlin
1949 Cincinnati
1949 Cleveland
1949 Dallas
1949 Durham, North Carolina
1949 Easton, Pennsylvania
1949 New Haven
1949 New York
1949 New York
1950 Boston
1950 Chicago
1950 Louisville, Kentucky
1950 New London, Connecticut
1950 Utica, New York
1950 Washington, D.C.
1950 Wellesley, Massachusetts
1951 Detroit
1951 Philadelphia
1952 Chicago
1952 New York
1952 Philadelphia
1953 Essex, Connecticut
1953 Hartford, Connecticut
1953 Redlands, California
1954 Honolulu
1955 Cambridge, Massachusetts
1955 New York
1956 New Haven
1957 Hagen
1957 Kassel
1957 Paris
1957 Ulm
1958 Berlin
1958 Bottrop
1958 Freiburg im Breisgau
1958 New York
1959 Chicago
1959 Dortmund
1959 Locarno
1959 Münster
1959 New York
1959 New York
1959 Saratoga Springs, New York
1960 Cleveland
1960 Los Angeles
1960 Zürich
1961 Amsterdam
1961 London
1961 Milan
1961 New York
1962 Boston
1962 Chicago
1962 Katonah, New York
1962 Los Angeles
1962 Raleigh
1962 Washington, D.C.
1962 Wiesbaden
1962 Zürich
1963 Cambridge, Massachusetts
1963 Copenhagen
1963 Dallas
[FULL TEXT FOR SUB HEADLINE] Dallas Museum of Fine Arts, The Interaction of Color: A Presentation of Paintings and the Color Theory of Josef Albers, 30 April—26 May 1963. Under auspices of the Smithsonian Institution, exhibition traveled to San Francisco Museum of Art, 14 June—14 July 1963; Fisher Gallery, University of Southern California, Los Angeles, October 1963; Worth Ryder Art Gallery, Kroeber Hall, University of California, Berkeley, 24 November 1963—2 January 1964; General Motors Styling Center, Detroit, 31 January—28 February 19641963 Essen
1963 Los Angeles
1963 New York
1964 Bern
1964 Munich
1964 New York
[FULL TEXT FOR SUB HEADLINE] Museum of Modern Art, International Council, Josef Albers: Homage to the Square. Exhibition traveled to 11 venues in Latin America and 11 venues in the United States: Galleria Mendoza, Caracas, Venezuela, 8 March–29 March 1964; Centro de Artes y Letras, Montevideo, Uruguay, 20 April–17 May 1964; Instituto Torcuato di Tella, Buenos Aires, Argentina, 9 June–5 July 1964; Instituto de Arte Contemporañeo, Lima, Peru, 14 September–11 October 1964; Instituto Brasil-Estados Unidos, Rio de Janeiro, Brazil, 5 November–30 November 1964; Museu de Arte Contemporañea, São Paulo, Brazil, 7 December–23 December 1964; USIS Guayaquil de Cultura Ecuadoriana, Guayaquil, Ecuador, 8 January–5 February 1965; Ecuadoran-American Cultural Center, Quito, Ecuador, 8 January–5 February 1965; Bi-National Center, Bogota, Colombia, 19 February–19 March 1965; Museo de Arte Contemporañeo, Santiago, Chile, April 1965; Museo de Arte y Ciencas de la Universidad, Mexico City, July–August 1965; Dulin Gallery of Art, Knoxville, Tennessee, 15 October–7 November 1965; Huntington Galleries, Huntington, West Virginia, 19 November–12 December 1965; Rochester Memorial Art Gallery, Rochester, New York, 7 January–4 February 1966; State University College, Oswego, New York, 21 February–14 March 1966; Atlanta Art Association Museum, Atlanta, Georgia, 25 March–24 April 1966; Marion Koogler McNay Art Institute, San Antonio, Texas, 9 May–6 June 1966; George Thomas Hunter Gallery of Art, Chattanooga, Tennessee, 24 June–17 July 1966; Walker Art Center, Minneapolis, Minnesota, 14 August–18 September 1966; Madison Art Center, Madison, Wisconsin, 3 October–24 October 1966; Virginia Museum of Fine Arts, Richmond, Virginia, 7 November–4 December 1966; Wichita Art Museum, Wichita, Kansas, 2 January–22 January 19671964 New York
1964 Northampton, Massachusetts
1964 Rapperswil, Switzerland
1964 Soest
1964 Stockholm
1964 Winterthur, Switzerland
1965 Cincinnati
[FULL TEXT FOR SUB HEADLINE] Contemporary Arts Center, Paintings by Josef Albers, 18 May 1965–August 1965. Exhibition traveled to Boise Art Association, Boise, Idaho, 24 August–24 September 1965; Contemporary Art Association, Houston, Texas, 1 October–3 November 1965; Newcomb College, New Orleans, Louisiana, 14 November–14 December 1965; Forth Worth Art Center, Fort Worth, Texas, 23 December 1965–21 January 1966; Laguna Gloria Art Museum, Austin, Texas, 31 January–15 March 1966; Colorado Springs Fine Art Center, Colorado Springs, Colorado, 12 April–16 May 1966; Cleveland Museum of Art, Cleveland, Ohio, 1 June–14 July 19661965 Düsseldorf
1965 Esslingen
1965 Hartford, Connecticut
1965 London
1965 Milan
1965 Siegen
1965 Washington, D.C.
1965 Zürich
1966 New Haven
1966 Washington, D.C.
1967 Bern
1967 Lancaster, Pennsylvania
1967 Mexico City
1967 Münster
1967 Rome
1967 Seattle
Washington Western Association of Art Museums, Josef Albers. Exhibition traveled to Detroit Institute of Arts, Detroit, Michigan, 1–30 April 1967; Phoenix Art Museum, Phoenix, Arizona, May–June 1967; Milwaukee Art Center, Milwaukee, Wisconsin, August–September 1967; Allentown Museum, Allentown, Pennsylvania, 1–31 October 1967; Cornell University, Ithaca, New York, 6–27 November 1967; Edmonton Art Gallery, Edmonton, Alberta, Canada, December 1967; Asheville-Biltmore College, Asheville, North Carolina, 3–28 February 1968; University of Michigan Museum of Art, Ann Arbor, Michigan, 1–30 April 1968; Northern Michigan University, Marquette, Michigan, 1–30 May 1968; Northern Illinois University, Normal, Illinois, 3–28 June 1968; Bergstrom Art Center, Neenah, Wisconsin, 14 August–8 September 19681967 Sydney
1968 Bielefeld
1968 Boston
1968 Cologne
1968 Münster
1968 New York
1968 Paris
1969 Bottrop
1969 Høvikodden, Norway
1969 Mexico City
1969 Munich
1969 Nuremberg
1970 Caracas
1970 Düsseldorf
1970 Hamburg
1970 Macerata, Italy
1970 Munich
1970 New York
1970 Zürich
1971 Detroit
1971 Knokke, Belgium
1971 New York
1971 New York
1971 Princeton, New Jersey
1971 Turin
1971 Zagreb, Yugoslavia (Croatia)
1972 Milan
1972 Munich
1972 Toronto
1973 Basel
1973 Bottrop
1973 Caracas
1973 Cologne
1973 Hannover
1973 Paris
1973 Toronto
1974 Milan
1974 Paris
1976 Bamberg
1976 Bolzano
1976 Cologne
1976 Krefeld
1978 New Haven
1979 Berlin
1979 Ridgefield, Connecticut
1980 Barcelona
1980 Bonn
1980 Stockholm
1981 Montclair, New Jersey
1983 Bottrop
1983 Hagen
1983 New York
1984 London
1984 New York
1984 Paris
1985 Los Angeles
1985 Montreal
1985 Montreal
1986 Cologne
1986 Coral Gables, Florida
1986 New York
1986 Tokyo
1987 Düsseldorf
1987 Madrid
1987 New York
[FULL TEXT FOR SUB HEADLINE] American Federation of Arts, The Photographs of Josef Albers: A Selection from the Collection of the Josef Albers Foundation. Exhibition traveled to Mary and Leigh Block Gallery, Northwestern University, Evanston, Illinois, 15 June–9 August 1987; Des Moines Art Center, Des Moines, Iowa, 23 August–18 October 1987; Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio, 8 November 1987–3 January 1988; Museum of Modern Art, New York, NY, 27 January–5 April 1988; Denver Art Museum, Denver, Colorado, 24 July–18 September 1988; Montreal Museum of Fine Arts, Montreal, Quebec, Canada, 8 January–5 March 1989; Milwaukee Art Museum, Milwaukee, Wisconsin, 26 March–1 May 19891987 Paris
1988 London
1988 New York
1988 New York
1988 New York
1988 Tourcoing, France
1988 Ulm
1989 Ferrara
1989 London
1989 Milan
1989 New York
1990 Houston
1990 Munich
1990 Stockholm
1991 Alexandria, Virginia
[FULL TEXT FOR SUB HEADLINE] Art Services International, Josef Albers: Works on Paper, Exhibition traveled to J.B. Speed Art Museum, Louisville, Kentucky, 16 September—3 November 1991; Columbia Museum of Art, Columbia, South Carolina, 6 December 1991—12 January 1992; Huntsville Museum of Art, Huntsville, Alabama, 1 February—15 March 1992; Bakersfield Museum of Art, Bakersfield, California, 4 April—17 May 1992; Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, Nebraska, 8 August—20 September 1992; Knoxville Museum of Art, Knoxville, Tennessee, 10 October—29 November 1992; Bard College, Edith C. Blum Art Institute, Annandale-on-Hudson, New York, 19 December 1992—4 April 1993; Josef Albers Museum, Bottrop, Germany, 5 May—end of July 1993; Amos Anderson Art Museum, Helsinki, Finland, 26 August—10 October 1993; Haus für konstruktive und konkrete Kunst, Zürich, Switzerland, 12 November 1993—9 January 1994; Museum für Konkrete Kunst, Ingolstadt, Germany, 22 January—20 February 1994; Sala de Exposiciones Rekalde, Bilbao, Spain, 15 September—30 October 19941991 Marfa, Texas
1992 Bottrop
1992 Cologne
1992 Tokyo
1992 Vienna
1993 New York
1994 London
1994 London
1994 Venice
[FULL TEXT FOR SUB HEADLINE] Peggy Guggenheim Collection, Josef Albers: Glass, Color, and Light, 30 March–10 July 1994. Exhibition traveled to Palazzo delle Esposizioni, Rome, Italy, 21 July–3 October 1994 [Josef Albers: Vetro, colore e luce]; IVAM Centre Julio González, Valencia, Spain, 3 November 1994–8 January 1995 [Josef Albers: Vidrio, Color y Luz]; Josef Albers Museum, Bottrop, Germany, 12 February–15 April 1995 [Josef Albers: Glas–Farbe–Licht]; Solomon R. Guggenheim Museum, New York, 7 June–17 September 19951995 New York
1995 Northampton, Massachusetts
1995 Reykjavik
1995 Vienna
1996 Cologne
1996 Comune de Villa Carcina, Italy
1996 London
1996 New York
1996 New York
1996 Rome
1997 Paris
1997 Tokyo
1998 Bern
1998 Bonn
1998 New York
1998 Plieux, France
1999 Brussels
1999 London
2000 Bayreuth
2000 Boston
2001 London
2001 London
2001 Milan
2002 Bratislava, Slovak Republic
2002 Los Angeles
2002 Niigata City, Japan
2002 Paris
2002 Paris
2003 New York
2003 New York
2004 Boston
2004 London
2004 Madrid
2004 New York
2004 Scottsdale, Arizona
2004 Veszprém, Hungary
2005 Bologna
2005 London
2005 Ludwigshafen-am-Rhein
2005 New York
2006 Cologne
2006 Columbus, Georgia
2006 London
2006 Madrid
[FULL TEXT FOR SUB HEADLINE] Museo Nacional Centro de Arte Reina Sofia, Anni y Josef Albers. Viajes por Latinoamérica, 14 November 2006–12 February 2007. Exhibition traveled to Josef Albers Museum, Bottrop, Germany, 11 March–3 June 2007 [Anni und Josef Albers: Begegnung mit Lateinamerika]; Museo de Arte de Lima, Peru, 27 June–23 September 2007; Antiguo Colegio de San Ildefonso, Mexico City, Mexico, 6 November 2007–23 March 2008; Museu Oscar Niemeyer, Curitiba, Paraná, Brazil, 29 May–24 August 2008 [Anni e Josef Albers: Viagens pela América Latina]2006 Naples, Italy
2006 New York
2007 Erlangen
2007 London
2007 Mexico City
2007 New York
2007 Rome
2008 Bottrop
2008 Le Cateau-Cambrésis, France
2008 New York
2008 Sarasota, Florida
2009 Brooklyn
2009 Cologne
2009 London
2009 Mannheim
2009 São Paulo
2010 Bottrop
2010 Bottrop
2010 Kaohsiung City, Taiwan

2010 Munich
Josef Albers in America: Painting on Paper presents the many studies that Josef Albers made for his paintings. With approximately eighty oil sketches on paper, the exhibition reveals a private side of Albers's work. These sketches were never exhibited in the artist's lifetime and have rarely been seen after his death. On view are early studies (1930s–early 1940s), studies for Albers's Adobe series, inspired by Mexican architecture (1940s–early 1950s), and studies for Homage to the Square (1950s–1970s). These vibrant sketches provide insights into the artist's working process and, in contrast to the austerity and strict geometry of the final paintings, are remarkable for their freedom and sensuality. Works are drawn from the Josef and Anni Albers Foundation in Bethany, Connecticut and the Josef Albers Museum in Bottrop, Germany.
Touring Exhibition Venues
A complete list of exhibition venues is available here (pdf).
2010 New York
2010 Washington, D.C.
2011 London
2011 Modena
2011 Waterloo, New South Wales, Australia
2012 Berlin
2012 Cork, Ireland
2012 Paris

2013 Stuart, Florida + Orono, Maine
Albers and Heirs celebrates Josef Albers's extensive contribution as an artist and educator. Paintings by Albers are complemented by the work of two of his students, Neil Welliver and Jane Davis Doggett. Welliver and Doggett mastered Albers's discipline of the interaction of color and made it central to their work.




2013 Citta di Castello
The experience of artistic creation that Josef Albers came to represent is exactly what we mean by the word "art." A wide, varied concept that Albers managed to express, devoting his whole life to it, and above all conveying the extraordinary wisdom that ties the creative process to the real world. It is a process which cannot be taught, but which can make us capable of seeing. Josef Albers's work as a teacher is one of the aspects that best illustrates his revolutionary force and that makes him one of the founders of exact art. The exhibition is guided by the works and testimonies left by Albers's numerous students, friends, and colleagues, and by Albers himself who always conceived of teaching as a natural act of moral duty. Josef Albers, Art as Experience: The Teaching Methods of a Bauhaus Master is a homage to Josef Albers, to an idea that becomes concrete, that becomes design, and to creative research that manages to be both subjective and rigorous: in short to the discovery of artistic experience which is unique, personal, and constantly evolving. The exhibition allows the public to observe the works, projects, and drawings of Albers's students at the Bauhaus, Black Mountain College and the Yale University School of Art, many of them previously unseen and housed at the Josef and Anni Albers Foundation.
2013 Madrid









2013 Milan
Josef Albers: Sublime Optics takes as its foundation Josef Albers's worship of the inexplicable, in a monographic exhibition featuring works that span Albers's career. From his very first extant drawing to his very last Homage to the Square painting, works from every period are seen in an installation organized to engage with Albers's own procedure for approaching the sublime: that of diligent—nearly scientific—consideration of the physical world. The over-eighty works—including lithographs, prints, collages, and paintings all taken from the holdings of the Josef and Anni Albers Foundation—are arranged around three of Albers's own visual fundamentals: line, form, and color. Each space features work from different parts of Albers's extensive career, while works from the same period can be seen in different contexts. Each of his artworks functions as an exercise itself, teaching those he couldn't reach in his classrooms, to open their eyes and recognize the sublime. Josef Albers: Sublime Optics was curated by Nick Murphy at the Fondazione Stelline, Milan based on the original exhibitions—The Sacred Modernist: Josef Albers as a Catholic Artist at the Glucksman Gallery, University College, Cork and Josef Albers: Spirituality and Rigor at the Galleria Nazionale del Umbria, Perugia arranged by Nicholas Fox Weber in 2012 and 2013.






Color study (vibrating boundaries), ca. 1951-1954
Yale University
1976.26.518






2013 Milan + Bottrop
The exhibition, curated by Atlante Cultura in collaboration with the Josef and Anni Albers Foundation, explores the connection between Albers's work as an artist and his role as one of the foremost teachers of art of the twentieth century. Through Albers's own words, videos, photographs, projects and original works by Albers and his students the exhibition illustrates the teaching methods that Albers considered to be a full-fledged pedagogical science. It highlights Albers's belief in the necessity of the artist's ability to take risks, to have a sense of curiosity towards his surroundings, and to engage in continuous experimentation. The exhibition includes more than one hundred works in all mediums created by Albers's students at the Bauhaus, Black Mountain College and Yale University drawn from the rich holdings of the Josef and Anni Albers Foundation.






2013 Perugia
Josef Albers professed his Catholic faith with reserve and discretion, even in the rare cases when he engaged directly with the iconography of Christian mysticism. Allegories, symbols—with the partial exception of the cross—and didactic intentions are completely foreign to Albers's oeuvre. The rigorous manner in which Albers ruled out from his painting any element that might anchor it to history, literature, religion, science, and even the contemporary world and his own personal life, represents a crucial prerequisite for the absolute quality of his works and for his own abstraction from the ordinary passing of time. This suspension and escape from the stream of events constitutes in itself one of the preconditions for sacredness. The exhibition Josef Albers: Spirituality and Rigor maps the paths that Albers's work took on the road to achieving that quality and sacredness, culminating in the Homage to the Square series which occupied most of the final quarter century of his life. A genuine ascetic of the arts, Albers knew how to draw strength from his sacrifices: "no smock, no skylight, no studio, no palette, no easel, no brushes, no medium, no canvas." The changeless quality of this process of execution and its repetition day after day suggest an inner order and harmony, a commitment so great that it turns the creation of paintings into a kind of individual ritual; a liturgy that constitutes an expression of the sacredness of painting. By virtue of this independence and ethical rigor, which bars all exceptions, tricks, and shortcuts, the works acquire their authenticity, their "truth" and capacity to serve as a means to spiritual elevation, their universality.


2014 Bottrop
A special exhibit at the Josef Albers Museum affords a special look at Albers's Homage to the Square series; for the first time this exhibit brings together the first and the last paintings of the series. The breadth of Albers's art is thus brought to our attention in an exemplary fashion. Contrary to the suggestion in the title, Homage to the Square is not an homage to a geometrical shape, but rather a celebration of color and its limitless possibilities of expression. Albers chooses the established square pictorial scheme because of its compact frontality, which strides up to us like an icon and thus also becomes a shape in the background of our attention. Thus we can concentrate on the countless variations in the conversation of the colors. This involves a complex equilibrium among the identities of all the colors, which interact and thus change one another's appearance. "Color is the most relative medium in art," Albers once declared, so it is the observer, who uses vision to set into movement the apparently statically placed color gradations. The painting becomes a living organism, the effect of which is not restricted to the retina, but rather is reflected in our consciousness and emotions.


















2014 London
Waddington Custot Galleries present Josef Albers: Black and White in association with the Josef and Anni Albers Foundation. This is the first exhibition to be held in the UK which explores the importance of black and white in Josef Albers's work. Almost 50 selected works testify to Albers's versatility as an artist. Albers explored the power of black throughout his life. His thorough use of black using multiple materials helped inform his knowledge and understanding of colour. Works in the exhibition include his earliest extant drawing from 1911, his Bauhaus glass constructions and photo collages. An important set of six Treble Clef gouaches from the 1930s show his subtle symbioses of black, white and grey. Six Graphic Tectonic drawings from the 1940s and Structural Constellations from the 1950s show geometric precision and exemplify his wish to create 'maximum effect' from 'minimal means'.
Reviews
"Square Dance" by Andrew Lambirth, The Spectator (London), May 24, 2014
















Henie Onstad Kunstsenter, Høvikodden
photographer, Øystein Thorvaldsen

Henie Onstad Kunstsenter, Høvikodden
photographer, Øystein Thorvaldsen

Henie Onstad Kunstsenter, Høvikodden
photographer, Øystein Thorvaldsen

Henie Onstad Kunstsenter, Høvikodden
photographer, Øystein Thorvaldsen

Henie Onstad Kunstsenter, Høvikodden
photographer, Øystein Thorvaldsen
2014 Madrid + Oslo
Josef Albers: Minimal Means, Maximum Effect is the first retrospective in Spain devoted to Josef Albers (1888–1976). Notwithstanding its retrospective character, the exhibition is not structured as a simple chronological survey of the artist's work. Rather, it presents the work of Josef Albers as a project equally characterized by its coherence and its search for simplicity, its productive use of deliberately limited means and resources, its respect for manual labor and its emphasis on experimentation with color, taking material shape in a body of work with a marked poetic and spiritual content. Albers's output is decidedly the result of a judicious administration of artistic resources. In its totality his oeuvre is the consequence of a true "economy of form." The exhibition catalogue includes an extensive documentary section with 57 texts by Albers, 26 of them previously unpublished. In addition to his early figurative drawings, in which the effectiveness of the "economical" lines is already notable, the show includes works in stained glass, furniture and objects designed during the Bauhaus period, as well as graphic work and paintings from the artist's years in North America.















2014 Palma + Cuenca + Bottrop
Josef Albers: Process and Printmaking explores the Josef Albers's lifelong interest in printmaking. From the stark black and white of his earliest woodblock prints whose motifs were drawn from the coal mining landscape of Albers's Westphalian hometown, Bottrop, to the vivid colors and abstract geometry in screen prints of the 1960s and 1970s, Albers, like so many artists, was drawn to printmaking by the economy of production, freedom of creation, and the opportunity for trial and error, experimentation, and innovation the medium offered. Albers experimented with a range of printed mediums, from relief prints in wood and linoleum; to stone, color, and zinc plate lithographs; intaglio techniques; and screen prints. With just over one hundred works, the exhibition allows a rare view into the workings of the artist's imagination, showing individual studies and extended series in which the process and progress of image making is laid out. The transformation and resolution of idea into form occurs in a revelatory manner in the viewer's presence. Seen together with their studies, Albers's printed works reveal the unfolding of a nuanced understanding of how elements of form—texture, line, and color—can reveal rich and astonishing visual experiences.












2014 Palma, Mallorca
Josef Albers/Joan Miró:The Thrill of Seeing integrates Miró's paintings, drawings, and sculpture, from the collection of the Fundación Pilar y Joan Miró, with Albers's paintings, prints, and glass work, from the Josef and Anni Albers Foundation, to reveal visual and spiritual similarities. Conceived by Nicholas Fox Weber, director of the Albers Foundation, in cooperation with Elvira Camera, director of the Fundacion Miró, it presents a lively selection of art works, ranging from little-known studies to recognizable masterpieces, that delight the viewer in showing to what a great degree Albers and Miró shared the inclusiveness of their vision, their openness to forms and colors and objects and people and the natural and the manmade and daytime and nighttime without qualification or preference. Albers and Miró were both great painters, and they both had that deep and abiding love for life; Josef Albers/Joan Miro:The Thrill of Seeing makes the pleasures and common ground of their work available to viewers in an unprecedented way.

Album cover for Leonid Hambro and Jascha Zayde Magnificent Two Piano Performances, 1961
offset printed record album jacket
1976.17.B7

Album cover for Mossorgsky–Ravel Pictures At An Exhibition,1961
offset printed record album jacket
1976.17.B6


2015 Los Angeles
The series of records made by Command Records almost 56 years ago still resonates with audiophiles and are much sought after by connoisseurs of mid-century modern design. The covers represent a result of the meeting of two individuals, Josef Albers and Enoch Light. Both men driven by a strong conviction about their respective crafts—one an influential teacher and artist, and the other a stereorecording pioneer. Although Albers is a legendary figure in the graphic design world, the artwork he did for Command represent nearly the only examples of his commercial work. The designs pushed the level of abstraction never before seen on records, while the albums pushed the capabilities of the recording and reproduction of stereo sound. Perfectly matched, and bold for their time, the records benefited from a growing class of post-war consumers interested in a comfortable lifestyle, and were a big commercial success. The covers are a testament to the value of trusting in strong, visual design and serve as a manifestation of the commingling of European Modernist ideals.








2015 Milan
A Beautiful Confluence: Anni and Josef Albers and the Latin American World presents the art of the 20th-century masters in tandem with the pre-Columbian objects they collected from the time they moved to America in 1933 until Josef's death in 1976. In fourteen trips to Mexico and other countries in Central and South America, they discovered that "Art is everywhere." The Alberses felt an emotional camaraderie with stonecutters and potters and weavers, some of whom lived centuries ago, because of a shared interest in line and color and artistic technique. With little money, the couple amassed an important collection, and the exchange between what they bought and their own work became powerful. This exhibition, featuring more than 200 objects, reveals the similar visual and artistic interests and personal passions of Anni and Josef and the Latin American world that became their haven. For more information, visit abeautifulconfluence.com
Selected Reviews
"Bauhaus below the Border" by Charles Darwent, The World of Interiors, December 2015
"Josef and Anni Albers' Latin American Road Trip" by Liam Freeman, AnOther, November 3, 2015

2016 Burlington, Vermont
Formulate/Articulate is presented in conjunction with AIGA Vermont Design Week and features vivid examples of Josef Albers's print and graphic work as well as related ephemera, including original screenprints from his seminal 1963 publication, Interaction of Color.



2016 Madrid
Josef Albers: Homage to the Square is dedicated to the artist's most famous series of paintings, which he created from 1950 until his death in 1976. The Homage to the Square paintings share a basic geometric composition of squares within squares, and the variations, of which Albers made into the thousands, explore the mutability of color and its effects on perception. Of particular note in this exhibition is the unusual Double Homage to the Square, which pairs two paintings within one composition. Other works include studies and finished oil paintings from 1955 to 1965.

2016 New York
One and One Is Four: The Bauhaus Photocollages of Josef Albers focuses exclusively on this deeply personal and inventive aspect of Albers's work. One of the least familiar aspects of Albers's career is his inventive engagement with photography, which was only discovered after his death. The highlight of this work is undoubtedly the photocollages featuring photographs he made at the Bauhaus between 1928 and 1932. At once expansive and restrained, this body of work anticipates concerns that Albers would pursue throughout his career: seriality, perception, and the relationship between handcraft and mechanical production. MoMA presented the first serious exploration of Albers's photographic practice in 1988, The Photographs of Josef Albers. In 2015, the Museum acquired ten photocollages by Albers—adding to the two donated by the Josef and Anni Albers Foundation almost three decades ago—making its collection the most significant anywhere outside the Foundation. This installation celebrates both the landmark acquisition and its related publication.














2016 New York
The title Josef Albers: Grey Steps, Grey Scales, Grey Ladders is taken from a passage in Interaction of Color (1963), Albers's significant treatise on color studies and an essential handbook for artists and teachers. Particularly concerned with the study of chromatic interaction, in which visual perception of a color is affected by those adjacent to it, Albers writes, "To this end, we study gradation by producing so-called grey steps, grey scales, grey ladders. These demonstrate a gradual stepping up or down between white and black, between lighter and darker."
The centrality of these gradations between black, white, and grey to Albers's overall theory of color is demonstrated by the inclusion of his first Homage to the Square painting, Homage to the Square (A) (1950), which inaugurated the series that would occupy him until his death in 1976. Establishing the configuration of nested squares for which the series is known, the work moves progressively from deep black at its center to pale grey at its edge. In addition to this key painting and its related studies, the exhibition also presents a range of works in a variety of media that attest to Albers's lifelong investigation into black, white, and grey, from ink and watercolor works on paper that pre-date his time at the Bauhaus, to gouaches executed during his tenure at Black Mountain College, to color studies that shed light on his working process. Known primarily for his intensive exploration of color, Albers often utilized tones of black, white, and grey while working out new ideas and new techniques, crafting finely tuned studies of light and perception while emphasizing the graphic and rhythmic qualities of his compositions. Examples of this tendency include not only the first Homage to the Square, mentioned above, but also earlier works, among them his series of Treble Clefs (1932–35)—important gouaches that bridge the period from his departure from the Bauhaus to his arrival in America—and selections from his Kinetics series of the early 1940s.

2017 Abilene, Texas
From the Collection: Josef Albers, Homage to the Square features Albers's portfolio of ten screenprints Soft Edge–Hard Edge from 1965. This is the first time the full set of prints has been exhibited at the museum. "Simultaneous contrast is not just a curious optical phenomenon—it is the very heart of painting," Albers explained of his lifelong pursuit of investigating color relationships. "Repeated experiments with adjacent colors will show that any ground subtracts its own hue from the colors which it carries and therefore influences."

2017 Birmingham, Alabama
Homage to the Square: Ten Works by Josef Albers features a set of ten screen prints by the artist from 1962. Each print is poetically titled, encouraging visitors to make connections between the meaning behind the titles and the experience viewing the prints. Albers is best known for the hundreds of paintings and prints from his series Homage to the Square, which explores the interaction of colors within a composition of three or four nested squares.

2017 Butte, Montana
Josef Albers—Formulate: Articulate showcases prints from Albers's portfolio Formulation: Articulation, highlighting signature works from over forty years of Albers's career. The exhibition is presented in conjunction with the Butte Light and Color Festival.










2017 London
Josef Albers: Sunny Side Up presents a trove of paintings over five decades in which yellow dominates, conveying the limitless expressive potential of color and light that characterizes Albers's practice as a whole. If there was any single inspirer of Josef Albers's embrace of color it was the German Romantic poet, Johann Wolfgang Goethe. As a young artist, Albers owned an early edition of Goethe's Theory of Color (1810) in which the poet wrote ". . . a strong yellow on lustrous silk . . . has a magnificent and noble effect. We also experience a very warm and cozy impression with yellow. Thus, in painting, too, it belongs among the luminous and active colors. . . . The eye is gladdened, the heart expands, the feelings are cheered, an immediate warmth seems to waft toward us."
Sunny Side Up brings a touch of that warmth, presenting a selection of the artist's iconic Homage to the Square paintings, begun in 1950 and elaborated on until his death in 1976. Exploring a variety of chromatic and perceptual effects, the Homage to the Square paintings serve as a sustained, serial investigation into rhythm, mood, and spatial movement within a carefully configured nested square format. Also on view are paintings from Albers's earlier Variant/Adobe series, as well as color studies and additional works on paper. The exhibition forms a pendant to David Zwirner's previous Albers exhibition in New York (November–December 2016), Josef Albers: Grey Scales, Grey Steps, Grey Ladders, which focused on the artist's use of black, white, and grey.


Study for a Variant, ca. 1947
oil and pencil on blotting paper
1976.2.270





2017 New Haven, Connecticut
Small-Great Objects: Anni and Josef Albers in the Americas examines intersections between the art-making and art-collecting strategies of the Alberses, two of the most influential figures of twentieth-century modernism. Between 1935 and 1967, the couple made numerous trips to Latin America and the American Southwest and amassed a large collection of ancient artworks from these regions. The exhibition looks at these objects in depth and considers how Anni and Josef's collection supported their aesthetic sensibilities and teaching practice. In addition to objects from the ancient Americas, the show gathers together dozens of works that the couple made, including textiles, paintings, works on paper, and rarely studied photographs that Josef took at archaeological sites and museums. Demonstrating the Alberses' deep and sustained engagement with ancient American art, an interest that was decades ahead of its time, Small-Great Objects explores a fascinating dimension of the couple's creative vision.









2017 New York + Venice + Phoenix
Josef Albers in Mexico brings together the artist's photographs and photo collages from the Guggenheim's collection and various lenders. These works, many of which have never been exhibited publicly, suggest a nuanced relationship between the forms and motifs of pre-Columbian monuments and the artist's iconic abstract canvases.
Albers's innovative approach to photography remains an underappreciated aspect of his career. On his first trip to Mexico, in 1935, Albers encountered the magnificent architecture of ancient Mesoamerica. He later remarked in a letter to Vasily Kandinsky, a former colleague at the Bauhaus, "Mexico is truly the promised land of abstract art." With his wife, artist Anni Albers, Josef visited Mexico and other Latin American countries nearly a dozen times from 1935 to 1967. They saw numerous archeological sites and monuments, especially in Mexico and Peru. On each visit, Josef took hundreds of black-and-white photographs of the pyramids, shrines, and sanctuaries at these sites, often grouping multiple images printed at various scales onto eight by ten inch sheets.
Albers's experiences in Latin America offer an essential context for understanding his paintings and prints, particularly from his Homage to the Square and Variant/Adobe series, examples of which are featured in this show.

2017 Windsor, Connecticut
Harmony, curated by students at the Loomis Chaffee school, features screen prints, watercolor paintings, and lithographs by Josef and Anni Albers. In a statement, the students write: "In a world full of chaos and disorder, it can be hard at times to find a thread that is uniting. Differences in our preconceived ideas and critical views on society have formed many divisions, gaps that we often try to forcefully bridge with violence and hatred. However, by looking at things from multiple, different perspectives, we truly appreciate not only the amazing diversity we possess but also the many similarities that join us together. In our Harmony exhibit, we have tried to show how our perceptions, particularly of color, differ from person to person and can often times distort the truth. Each piece in the show also has a number of "supporting pieces" that link the Albers's art to other cultures or every day objects. These supporting pieces show how design elements can be universal, unlimited by culture or time. We hope that by reflecting upon the limitations and possibilities of your own point of view, you can take the time to admire our differences, find common ground, and strive to make a difference in society where, one day, we can all live in harmony.



Park, ca. 1923
glass, metal, wire, and paint
19 1/2 × 15 in. (49.5 × 38.1 cm)
1992.6.28


Tea glass with saucer and stirrer, 1925
heat resistant glass, chrome-plated steel, ebony, porcelain
Glass: 2 1/4 × 3 1/2 in. (5.7 × 8.9 cm)
Saucer: 4 1/4 in. (10.5 cm) diameter
Stirrer: 4 × 1/2 in. (10.3 × 1.1 cm)
2010.17.1

2018 Essen
Josef Albers: Interaction presents approximately 130 works by the German-born artist at the Villa Hügel, the former residence of the industrialist family Krupp in Essen. The retrospective shows a broad range of Albers's work, including paintings, glass and paper works, photographs, and furniture. The exhibition begins with Albers's time at the Bauhaus and then continues to his years in America, exploring themes such as his interest in Mexican landscape and culture and his dedication to the interaction of color in his series, Homage to the Square. A spectacular selection of large-sized paintings from the United States, Germany, and Switzerland represents what it means to think color. Albers said: "Color challenges me as the most relative medium in art."


2018 Siena + Cork + Zagreb
Voyage Inside a Blind Experience (VIBE) is an exhibition that has equal interest for seeing and for visually impaired people, examining the abstract works of Josef and Anni Albers. The project developed from a collaboration between Atlante Servizi Culturali and the Josef and Anni Albers Foundation, together with the Istituto dei Ciechi di Milano, and with the support of the three European museums presenting the exhibition.

2019 Bellinzona, Switzerland
Josef Albers. Anatomia di «Omaggio al Quadrato» traces the genesis of a twentieth-century icon, the Homage to the Square, through a mainly unpublished sequence of Josef Albers's oil paintings, prints, and sketches.

2019 Bottrop, Germany
Der junge Josef Albers features the artist's early works, including portraits, landscapes, and still-life compositions, in his hometown of Bottrop. Drawings and watercolors, many on view for the first time, show the artist's early facility with form and color.




2019 New York
Sonic Albers examines Josef Albers's relationship to music, musical imagery, and sonic phenomena. Organized in collaboration with The Josef and Anni Albers Foundation, the show provides a far-reaching look at this underexplored facet of the artist's practice and features a wide selection of paintings, glassworks, drawings, and ephemera from throughout Albers's career, including a number of the album covers he designed in the late 1950s and early 1960s.



2019 Seoul
Josef Albers: Interaction of Color focuses on the artist's seminal book from 1963.

2019 Tucson, Arizona
Learning to See: Josef Albers features Albers's portfolio of screenprints Formulation: Articulation. Completed in 1972 the portfolio was published by Harry N. Abrams and printed by the well-known fine art printing firm Ives-Sillman. The series includes screenprints based on works from forty years of Albers's career.

2020 Sweet Briar, Virginia
Josef Albers and the Interaction of Color showcases a collection of original silkscreen prints by the artist created for the book Interaction of Color. The book, composed of 150 silkscreen images, was first published in 1963 by Yale University Press. Interaction of Color is a manifestation of Albers's passion for exploring how colors work scientifically, subjectively and subconsciously. Albers developed the color series while teaching at Yale University Art School. He posed a series of questions to his students, and they responded by creating collages out of colored paper. The collages became the color blocks in the collection. The exhibition is designed to feel like one is walking through an open book. The interactive element of Albers's work with his students is carried through with the availability of iPads where visitors can use an app designed by Yale to move color blocks, as though they are working with paper cutouts in the classroom.

2021 Boston

2021 Charlotte, North Carolina
Josef Albers: The Interaction of Color is inspired by the Bechtler Museum's rare German edition of The Interaction of Color, featuring 81 silkscreen color studies that serve as a record of Albers's experiential way of studying and teaching color. Born in Germany in 1888, Josef Albers was one of the most influential artist-educators of the twentieth century. Best known for his iconic color square paintings, his exploration and expansion of complex color theory principles and dedication to experiential education based on observation and experimentation, radically altered the trajectory of arts education in the United States.
Forty-five years after the artist's death, this exhibition presents a selection of works from The Interaction of Color, which was originally conceived of as a handbook and teaching aid for artists, educators, and students. On view in the Bechtler's second-floor gallery, the exhibition features 42 double-page screen prints, each demonstrating the ways in which colors can interact and influence each other. Albers suggested that color is best studied via experience, underpinned by experimentation and observation. Visitors see examples of different color study exercises that demonstrate principles including color relativity, vibrating and vanishing boundaries, and illusion of transparence and reversed grounds.

2021 London
Discovery and Invention: The Early Graphic Works of Josef Albers considers Albers's early development as an artist, beginning with the pre-Bauhaus years when he worked as an elementary-school teacher in his native Bottrop in western Germany, while sketching the landscape and studying courses in art by night. Focusing on his prints and other works on paper, the exhibition reveals not only the unappreciated naturalistic origins of his art, but also his ongoing interest in producing organic, surrealistic forms alongside the geometric abstraction for which he is best known.

2022 Dusseldorf, Germany
Josef Albers. Colors in Play highlights the work of the pioneering artist, teacher, and color theorist, whose keen interest in the effects of color continues to fascinate people around the world today. The exhibition features nearly 60 works, focusing on prints that Albers created between 1961 and 1973.

2022 Hong Kong
Primary Colors is the first solo presentation of Josef Albers's work in Greater China. The show is a focused examination of how the primary colors red, yellow, and blue, along with black, encompassed an infinite range of chromatic possibilities for Albers, which he explored throughout his career in stunning combinations presented in his signature visual formats. Several paintings from Albers's Homage to the Square series are featured, together with works from his Variant/Adobe series, inspired by the artist's travels in Latin America. Also on view is a rare group of paintings that depicts the visual motif of the treble clef as well as several important paintings and studies for unique works comprised of polygons and other geometric forms, illustrating the breadth of his formal and chromatic range.

1919 Munich
Galerie Goltz, Josef Albers Graphikwerke, September–October 1919
1932 Dessau
Bauhaus, Josef Albers: Glasbilder, 1–12 May 1932
1932 Erfurt
Verein für Kunst und Kunstgewerbe, Josef Albers und Karl Dietschmann, August 1932
1933 Berlin
Josef Albers' studio, An exhibition of glass paintings, July 1933
1934 Havana
Lyceum Club, An exhibition of prints and paintings on paper, including the 'Treble Clef' series, 12 December 1934–4 January 1935
1934 Milan
Galleria del Milione, Silographie recenti di Josef Albers e di Luigi Veronesi, 23 December 1934–10 January 1935
1934 Rotterdam
Studio 32, Werken van Prof. Jos. Albers, L.P. Jacobsen en Ch. Monet
1935 Andover, Massachusetts
Addison Gallery of American Art, Phillips Academy, Woodcuts by Professor Josef Albers, 1–31 January 1935
1935 Asheville, North Carolina
Asheville Art Guild, Works by Josef Albers, October–November 1935
1936 Black Mountain, North Carolina
Black Mountain College, Exhibition of Glass and Oils by Josef Albers, October 1936
1936 Cambridge, Massachusetts
Germanic Museum, Harvard University, Josef Albers and Hubert Landau, 9–30 November 1936
1936 Mexico City
Periódico El Nacional, An exhibition of prints, drawings, and paintings on paper, 15–25 August 1936
1936 New York
New Art Circle, J.B. Neumann, Josef Albers, 9–30 March 1936
1937 Chicago
Katharine Kuh Gallery, Albers and De Monda, 20 September–30 October 1937
1937 Chicago
Renaissance Society at the University of Chicago, Paintings by Josef Albers and E. Mistrik De Monda, 5–30 November 1937
1937 New London, Connecticut
Lyman Allyn Art Museum, Josef Albers, February 1937
1937 Norfolk, Virginia
Art Corner Gallery, Josef Albers, February–March 1937
1938 Dallas
Museum of Fine Arts, Josef Albers, February–March 1938. Exhibition traveled to Baylor College, Waco, Texas, April 1938; North Texas State Teacher's College, Denton, Texas May 1938
1938 Minneapolis
Art Gallery of the University of Minnesota, Josef Albers, 18 February–6 March 1938. Exhibition may have traveled in all or part to Carleton College, Northfield, Minnesota, February 1938, St. Paul School of Art, St. Paul, Minnesota, March 1938
1938 New York
New Art Circle, J.B. Neumann, Josef Albers, 9–30 March 1938
1938 New York
Artists' Gallery, Josef Albers, 6–31 December 1938. Exhibition traveled to Person Hall Art Gallery, University of North Carolina, Chapel Hill, January 1939; Addison Gallery of American Art, Andover, Massachusetts; Phillips Gallery, Exeter, New Hampshire, 1939; Greensboro Art Center, Greensboro, North Carolina, May 1939; Springfield Museum of Art, Springfield, Massachusetts, 1939
1938 New York
Weyhe Gallery, Josef Albers: Prints, December 1938
1939 Atlanta
High Museum, Josef Albers, October 1939
1939 Philadelphia
Philadelphia Art Alliance, Prints and Watercolors by Josef Albers, 24 January–12 February 1939. Exhibition traveled to J.B. Speed Memorial Museum, 28 February–27 March 1939
1939 Roanoke, Virginia
Hollins College, Woodcuts by Josef Albers, 5–17 May 1939
1939 Wilmington, North Carolina
Museum of Art, Josef Albers, September 1939
1940 New Orleans
Newcomb College School of Art, Josef Albers, 1–30 June 1940
1940 San Francisco
San Francisco Museum of Art, Oils and Woodcuts by Josef Albers, 16 February–8 March 1940. Exhibition traveled to the Fine Arts Gallery, San Diego, California, April 1940
1941 Boston
Museum of Fine Arts School, Abstract Paintings by Josef Albers, 1–30 June 1941
1941 Los Angeles
Stendahl Art Galleries, Josef Albers, 17–29 March 1941
1941 New York
Nierendorf Gallery, Josef Albers: New Paintings, 10 February–1 March 1941
1942 Albuquerque
University Art Museum, Paintings by Josef Albers, 2–30 April 1942
1942 Baltimore
Baltimore Museum of Art, Abstractions by Josef Albers, 1 December 1942–3 January 1943
1942 Boston
Grace Horn Gallery, An exhibition of Albers' prints, March 1942
1942 Cambridge, Massachusetts
Harvard University Graduate School of Design, Josef Albers: Graphic Tectonics, 16–26 March 1942
1942 Kansas City, Missouri
Nelson Art Gallery, Josef Albers, Spring 1942
1942 Santa Fe, New Mexico
Museum of New Mexico, Paintings by Francesco de Coco and Josef Albers, 15 May–1 June 1942
1943 Denton, Texas
North Texas State Teachers College, Josef Albers, 1 July–1 August 1943
1943 Greensboro, North Carolina
Greensboro, North Carolina, Women's College, Paintings and Watercolors by Josef Albers, September 1943. Exhibition traveled to North Carolina State Art Gallery, State Library Building, Raleigh, North Carolina, 18–29 October 1943; Person Hall Art Gallery, University of North Carolina, Chapel Hill, November 1943; Art Department, Duke University, Durham, North Carolina, October–November 1944
1944 Atlanta
Agnes Scott Art Gallery, Paintings by Josef Albers, Textiles by Anni Albers, 5 January–9 January 1944. Exhibition traveled to Fine Arts Gallery, University of Georgia, Athens, January–February 1944; Telfair Academy, Savannah, Georgia, February 1944; Mint Museum of Art, Charlotte, North Carolina, March 1944
1944 Bennington, Vermont
Bennington, Vermont, Bennington College, Josef Albers, October 1944
1945 Des Moines, Iowa
Drake University, Art Department Galleries, Josef Albers, January 1945
1945 New York
New Art Circle, J.B. Neumann, Josef Albers, 2–17 January 1945
1946 Minneapolis
University Gallery, University of Minnesota, Paintings by Josef Albers, 1 October–25 October 1946
1946 New York
Egan Gallery, Josef Albers: Graphic Works, 1–12 October 1946. Exhibition of 30 prints traveled to Cranbrook Academy, Bloomfield Hills, Michigan; Mills College, Oakland, California; University Gallery, Minneapolis, Minnesota; Art Institute of Chicago, 7 September–20 October 1946; University of Louisville, Kentucky; Central College, Fayette, Missouri; North Texas State Teachers College, Denton, Texas; Denver Art Museum; Santa Barbara Museum; Pasadena Art Institute; Pat Wall Gall
1946 New York
The Pinacotheca Gallery, Josef Albers, Fall 1946
1946 Roanoke, Virginia
Hollins College, Josef Albers: Prints, February 1946. Exhibition traveled to Addison Museum of American Art, Phillips Academy, Andover, Massachusetts; Yale University Art Gallery, New Haven, Connecticut; Museum of Art, San Diego, California; Art Center, La Jolla, California; Dartmouth College, Hanover, New Hampshire
1946 Tallahassee, Florida
Florida State Women's College, Josef Albers, April 1946
1947 Black Mountain, North Carolina
Black Mountain College, Contemporary Prints by Josef Albers, 13–26 April 1947
1947 Memphis
Memphis Academy of Arts, Twenty–five Paintings by Josef Albers, 15–28 January 1947
1947 Monterey, California
Pat Wall Gallery, Josef Albers: Oils and Lithographs, 22 July–13 August 1947
1947 New York
Jacques Seligmann Galleries, Introducing the Graphic Circle: Prints by Albers, 2–21 February 1947
1947 San Francisco
California Palace of the Legion of Honor, Josef Albers: Oils, Lithography, Woodcuts, 24 August–24 September 1947
1948 Bloomfield Hills, Michigan
Cranbrook Academy, Josef Albers: Paintings, February 1948
1948 Chicago
Gallery Studio, Josef Albers and Kenneth Nack, April 1948
1949 Berlin
Galerie Gerd Rosen, Josef Albers und Max Bill, March 1949
1949 Cincinnati
Cincinnati Art Museum, Josef Albers, 27 October–22 November 1949. Exhibition traveled to Virginia Museum of Fine Arts, Richmond, Virginia, December 1949
1949 Cleveland
Ten–Thirty Gallery, Paintings and Prints by Josef Albers, 12–31 December 1949
1949 Dallas
Josef Albers at Contemporary House, 20 November–December 1949
1949 Durham, North Carolina
Duke University Art Gallery, Josef Albers: Paintings, Spring 1949. Exhibition traveled to Person Hall, University of North Carolina, Chapel Hill, North Carolina; Mint Museum, Charlotte, North Carolina; Pack Library, Asheville, North Carolina
1949 Easton, Pennsylvania
The Northeon, Josef Albers, 1–30 November 1949
1949 New Haven
Yale University Art Gallery, Paintings by Josef Albers, 7 December 1949–30 January 1950
1949 New York
Egan Gallery, Albers: Paintings in Black, Grey, White, 24 January–12 February 1949
1949 New York
New York, Sidney Janis Gallery, Albers: Paintings Titled 'Variants', 24 January–12 February 1949
1950 Boston
The Bookbuilders Workshop, An Exhibition of Josef Albers: Paintings and Prints, opened 9 October 1950
1950 Chicago
Boyd Britton Associates, Albers: Lithos, Etchings, Woodcuts, 1–24 November 1950
1950 Louisville, Kentucky
Allen R. Hite Art Institute, University of Louisville, Paintings and Prints of Josef Albers: 1931–1948, 17 April–27 May 1950
1950 New London, Connecticut
Connecticut College, Masterpiece of the Month, 1–28 February 1950
1950 Utica, New York
Munson–Williams–Proctor Institute, Graphic Tectonic, November 1950
1950 Washington, D.C.
Smithsonian Institution, Division of Graphic Arts, Prints by Josef Albers, 3–29 January 1950
1950 Wellesley, Massachusetts
Wellesley College Art Museum, Josef Albers, 14 October–7 November 1950
1951 Detroit
Circle Gallery, Josef Albers, March–15 April 1951
1951 Philadelphia
Alexandra Studio Grotto, Josef Albers, opened 15 May 1951
1952 Chicago
Arts Club of Chicago, Two Exhibitions: Naum Gabo and Josef Albers, 29 January–28 February 1952
1952 New York
Sidney Janis Gallery, Albers: Homage to the Square and Transformations of a Scheme, 7–26 January 1952
1952 Philadelphia
Philadelphia Art Alliance, Josef Albers: Woodcuts, 4 April–4 May 1952
1953 Essex, Connecticut
Essex Art Association, Josef Albers, 12–28 June 1953
1953 Hartford, Connecticut
Wadsworth Atheneum, Josef and Anni Albers: Paintings, Tapestries and Woven Textiles, 8 July–2 August 1953
1953 Redlands, California
University of Redlands, Paintings by Josef Albers. Exhibition traveled to University Fine Arts Gallery, University of New Mexico, Albuquerque, February 1953; Pomona College, Claremont, California; Fresno Art Center, Fresno, California; San Francisco Museum of Art, 4–22 November 1953; Henry Art Gallery, University of Washington, Seattle, Washington, November 1953; Iowa State College, Ames, Iowa; Walker Art Center, Minneapolis, Minnesota; University of Michigan, Ann Arbor
1954 Honolulu
Honolulu Academy of Art, Josef and Anni Albers: Painting and Weaving, 1 July–2 August 1954
1955 Cambridge, Massachusetts
Hayden Gallery, Massachusetts Institute of Technology, Josef Albers, 6–27 March 1955
1955 New York
Sidney Janis Gallery, Acting Color: Albers, 31 January–26 February 1955
1956 New Haven
Yale University Art Gallery, Josef Albers: Paintings, Prints, Projects, 25 April–18 June 1956
1957 Hagen
Karl–Ernst–Osthaus–Museum, Josef Albers, 20 January–17 February 1957
1957 Kassel
Staatliche Werkkunstschule and Kunstsammlung Kassel, Josef Albers: frühe Bilder aus den Zwanzigerjahren und neue Arbeiten, 28 May–8 June 1957
1957 Paris
Galerie Denise René, Albers, 18 October–20 November 1957
1957 Ulm
Museum der Stadt Ulm, Josef Albers, 8 September–6 October 1957
1958 Berlin
Amerika Haus, Akademie der Künste, Josef Albers, 7–31 May 1958
1958 Bottrop
Verkehrsverein Bottrop, Josef Albers, 19–27 May 1958
1958 Freiburg im Breisgau
Kunstverein Freiburg im Breisgau, Josef Albers, 16 March–13 April 1958
1958 New York
Sidney Janis Gallery, Albers: 70th Anniversary Exhibition, 24 March–19 April 1958
1959 Chicago
Fairweather–Hardin Gallery, Josef Albers, October–November 1959
1959 Dortmund
Museum am Ostwall, Josef Albers, 12 May–21 June 1959
1959 Locarno
Galleria La Palma, Josef Albers, 31 July–21 August 1959
1959 Münster
Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Josef Albers: Zur Verleihung des Conrad von Soest Preises, 7 February–10 January 1959
1959 New York
The Contemporaries Gallery, Inkless intaglios by Josef Albers, 26 January–7 February 1959
1959 New York
Sidney Janis Gallery, Albers: Homage to the Square, 30 November–26 December 1959
1959 Saratoga Springs, New York
Hathorn Gallery, Skidmore College, Paintings by Josef Albers, 8–22 January 1959. Exhibition traveled to Rensselaer Polytechnic Institute, Troy, New York; Williams College, Williamstown, Massachusetts
1960 Cleveland
Cleveland Institute of Art, Josef Albers, April 1960. Exhibition traveled to Allegheny College, Meadville, Pennsylvania, January 1960; Columbus Gallery of Fine Arts, Columbus, Ohio, February 1960; Layton School of Art, Milwaukee, Wisconsin, March 1960; Minneapolis College of Art, May 1960
1960 Los Angeles
Ferus Gallery, Albers, 10 October–5 November 1960
1960 Zürich
Galerie Suzanne Bollag, Josef Albers, 3–30 January 1960
1961 Amsterdam
Stedelijk Museum, Albers, 10 March–10 April 1961
1961 London
Gimpel Fils Gallery Ltd., Albers, July–August 1961
1961 Milan
Toninelli Arte Moderna, Albers, October–November 1961
1961 New York
Sidney Janis Gallery, Recent Paintings by Josef Albers, 2–28 October 1961
1962 Boston
The Pace Gallery, Josef Albers at the Pace Gallery, 5–24 November 1962
1962 Chicago
Fairweather–Hardin Gallery, Albers, Spring 1962
1962 Katonah, New York
Katonah Gallery, Albers, 1 April–15 May 1962
1962 Los Angeles
Ferus Gallery, Paintings by Josef Albers, 17 September–13 October 1962
1962 Raleigh
North Carolina Museum of Art, Josef Albers: Retrospective Exhibition, 3 February–11 March 1962
1962 Washington, D.C.
Duncan Phillips Gallery, Paintings by Josef Albers, 28 January–28 February 1962
1962 Wiesbaden
Galerie Renate Boukes, Josef Albers, February 1962
1962 Zürich
Galerie Charles Lienhard, Albers, January 1962
1963 Cambridge, Massachusetts
Carpenter Center for the Visual Arts, Harvard University, Interaction of Color: Josef Albers, 15 October–1 December 1963
1963 Copenhagen
Galerie Hybler, Albers, October 1963
1963 Dallas
Dallas Museum of Fine Arts, The Interaction of Color: A Presentation of Paintings and the Color Theory of Josef Albers, 30 April–26 May 1963. Under auspices of the Smithsonian Institution, exhibition traveled to San Francisco Museum of Art, 14 June–14 July 1963; Fisher Gallery, University of Southern California, Los Angeles, October 1963; Worth Ryder Art Gallery, Kroeber Hall, University of California, Berkeley, 24 November 1963–2 January 1964; General Motors Styling Cen
1963 Essen
Museum Folkwang Essen, Josef Albers, 6 February–3 March 1963
1963 Los Angeles
Ferus Gallery, Josef Albers: Recent Work at Tamarind, opened 15 September 1963
1963 New York
Sidney Janis Gallery, New Paintings by Josef Albers, 4–30 March 1963
1964 Bern
Kunsthalle Bern, Josef Albers, 23 October–29 November 1964
1964 Munich
Galerie Wezel, Josef Albers: Homage to the Square, October 1964
1964 New York
Museum of Modern Art, International Council, Josef Albers: Homage to the Square. Exhibition traveled to 11 venues in Latin America and 11 venues in the United States: Galleria Mendoza, Caracas, Venezuela, 8 March–29 March 1964; Centro de Artes y Letras, Montevideo, Uruguay, 20 April–17 May 1964; Instituto Torcuato di Tella, Buenos Aires, Argentina, 9 June–5 July 1964; Instituto de Arte Contemporañeo, Lima, Peru, 14 September–11 October 1964; Instituto Brasil–
1964 New York
Sidney Janis Gallery, Albers: Homage to the Square. 40 New Paintings by Josef Albers, 28 September–24 October 1964
1964 Northampton, Massachusetts
Smith College Museum of Art, An Exhibition of the Works of Josef Albers, 5–23 February 1964
1964 Rapperswil, Switzerland
Galerie 58, Josef Albers, Autumn 1964
1964 Soest
Wilhelm–Morgner–Haus, Albers, 15 February–5 March 1964
1964 Stockholm
Galerie Burén, Josef Albers, January–February 1964
1964 Winterthur, Switzerland
Galerie ABC, Josef Albers, 13 January–1 February 1964
1965 Cincinnati
Contemporary Arts Center, Paintings by Josef Albers, 18 May 1965–August 1965. Exhibition traveled to Boise Art Association, Boise, Idaho, 24 August–24 September 1965; Contemporary Art Association, Houston, Texas, 1 October–3 November 1965; Newcomb College, New Orleans, Louisiana, 14 November–14 December 1965; Forth Worth Art Center, Fort Worth, Texas, 23 December 1965–21 January 1966; Laguna Gloria Art Museum, Austin, Texas, 31 January–15 March 1966; Co
1965 Düsseldorf
Galerie Schmela, Josef Albers, opened 24 February 1965
1965 Esslingen
(Op) Art Galerie [Galerie Hans Mayer], Josef Albers: Hommage to the Square und Strukturale Konstellationen, 9–16 May 1965
1965 Hartford, Connecticut
Trinity College: Austin Arts Center, The Art of Josef Albers, 19 April–7 May 1965
1965 London
Editions Alecto, Josef Albers: Graphic Tectonic and Other Lithographs, 9 March–3 April 1965
1965 Milan
Galeria Toninelli, Omaggio al Quadrato, January 1965
1965 Siegen
Galerie Ruth Nohl, Josef Albers, 28 May–24 June 1965
1965 Washington, D.C.
Washington Gallery of Modern Art, Josef Albers: The American Years, 30 October–31 December 1965. Exhibition traveled to Isaac Delgado Museum of Art, New Orleans, Louisiana, 23 January–27 February 1966; San Francisco Museum of Art, San Francisco, 2 June–26 June 1966; Art Gallery, University of California, Santa Barbara, 8 July–7 September 1966; Rose Art Museum, Brandeis University, Waltham, Massachusetts, 23 September–29 October 1966
1965 Zürich
Galerie Gimpel and Hanover, Josef Albers: Homage to the Square, 23 June–7 August 1965. Exhibition traveled to Gimpel Fils Gallery Ltd., London, 1 September–2 October 1965
1966 New Haven
New Haven Jewish Community Center, Josef Albers: Interaction of Color, 6 March–30 March 1966
1966 Washington, D.C.
Smithsonian Institution Traveling Exhibition Service, Action–Reaction: Recent Prints by Josef Albers. Exhibition traveled to Emory and Henry College, Emory, Virginia, 15 October–15 November 1966, and other venues
1967 Bern
Aktuelle Galerie, Albers Joseph, 9–22 December 1967
1967 Lancaster, Pennsylvania
Goethean Hall Gallery of Art, Franklin and Marshall College, Action–Reaction: Silk–screen Prints by Josef Albers, 25 November–15 December 1967
1967 Mexico City
Galeria de Arte Mexicano, Homenaje a Josef Albers: Exposición de grabados, 9 August–7 September 1967
1967 Münster
Galerie Wilbrand, Albers, March–April 1967
1967 Rome
Galleria L'Attico, Albers, December 1967
1967 Seattle
Washington Western Association of Art Museums, Josef Albers. Exhibition traveled to Detroit Institute of Arts, Detroit, Michigan, 1–30 April 1967; Phoenix Art Museum, Phoenix, Arizona, May–June 1967; Milwaukee Art Center, Milwaukee, Wisconsin, August–September 1967; Allentown Museum, Allentown, Pennsylvania, 1–31 October 1967; Cornell University, Ithaca, New York, 6–27 November 1967; Edmonton Art Gallery, Edmonton, Alberta, Canada, December 1967; Asheville&nd
1967 Sydney
Central Street Gallery, Josef Albers: The Interaction of Color, March 1967
1968 Bielefeld
Kunsthalle der Stadt Bielefeld–Richard Kaselowsky–Haus, Josef Albers, 27 September–8 December 1968
1968 Boston
Harcus Krakow Gallery, Josef Albers, 4 May–8 June 1968
1968 Cologne
Galerie der Spiegel, Josef Albers: Graphic Tectonic, 1968
1968 Münster
Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Albers, 28 April–2 June 1968. Exhibition traveled to Kunsthalle Basel, Switzerland, 22 June–28 July 1968 [presented as Albers and Slevogt]; Overbeck Gesellschaft, Lübeck, 18 August–15 September 1968; Badischer Kunstverein, Karlsruhe, 29 September–25 October 1968; Rheinisches Landesmuseum, Bonn, 5 November–3 December 1968; Kunstverein Berlin, 15 January–5 February 1969
1968 New York
Sidney Janis Gallery, New Paintings by Josef Albers, 10 April–4 May 1968
1968 Paris
Galerie Denise René, Albers, March–April 1968
1969 Bottrop
Cyriaskusschule, Albers in Bottrop, 31 August–20 September 1969
1969 Høvikodden, Norway
Sonja Henie–Niels Onstad Foundation, Konstruktivismens Arv [The Heritage of Constructivism], September–November 1969
1969 Mexico City
Museo Universitario de Ciencias y Arte, Carlos Merida–Josef Albers, August 1969
1969 Munich
Galerie Thomas, Look at Albers, October 1969
1969 Nuremberg
Nürnberg Biennale, Konstruktive Kunst: Elemente + Prinzipien, 18 April–3 August 1969
1970 Caracas
Estudio Actual, Ten Variants, opened March 1970
1970 Düsseldorf
Städtische Kunsthalle, Josef Albers, 4 September–4 October 1970
1970 Hamburg
Hamburger Kunsthalle, Josef Albers: Bilder, 29 January–1 March 1970
1970 Macerata, Italy
Artestudio Macerata, Albers, March 1970 [Exhibition included forgeries]
1970 Munich
Kunstverein München, Josef Albers: Bilder und Interaction of Color, 13 March–19 April 1970
1970 New York
Sidney Janis Gallery, Paintings by Josef Albers, 5–31 October 1970
1970 Zürich
Galerie Renée Ziegler, Josef Albers, 26 September–18 October 1970
1971 Detroit
London Arts Gallery, Josef Albers: Paintings, 10 April–7 May 1971. Exhibition traveled to London Arts Gallery, London, 11 May–12 June 1971
1971 Knokke, Belgium
Elisabeth Franck Gallery, Josef Albers, 19 May–17 June 1971
1971 New York
Metropolitan Museum of Art, Josef Albers at the Metropolitan Museum of Art, 19 November 1971–11 January 1972
1971 New York
Noah Goldowsky, Inc., Josef Albers: Paintings, November–December 1971
1971 Princeton, New Jersey
Princeton University Art Museum, Albers: Paintings and Graphics, 1917–1970, January 1971
1971 Turin
Galleria Notizie, Opera di Josef Albers, opened 6 October 1971
1971 Zagreb, Yugoslavia (Croatia)
Galerija Suvremene Umetnosti, Albers, 30 January–7 February 1971
1972 Milan
Studio Bellini, Josef Albers, opened 30 November 1972
1972 Munich
Goethe–Institut München, Albers. Exhibition of prints traveled beginning 1972 to Goethe–Institutes in India, South America, Indonesia, Hong Kong, Southeast Asia
1972 Toronto
Pollock Gallery, Josef Albers, 28 September–20 October 1972
1973 Basel
Galerie Beyeler, Albers, May–April 1973
1973 Bottrop
Rathaus der Stadt Bottrop, Albers in Bottrop, 18 March–15 April 1973
1973 Caracas
Estudio Actual, Homenaje a Albers, May 1973
1973 Cologne
Galerie Gmurzynska, Josef Albers, 12 September–25 October 1973
1973 Hannover
Kestner–Gesellschaft, Josef Albers, 12 January–11 February 1973
1973 Paris
Galerie Melki, Albers, 13 November–8 December 1973
1973 Toronto
York University Art Gallery, Homage to Josef Albers, 26 October–16 November 1973
1974 Milan
Studio Bassi, Opera scelte di Josef Albers, opened 19 February 1974
1974 Paris
Galerie Denise René, Josef Albers: Formulation, Articulation, February 1974
1976 Bamberg
Studio M: Galerie and Atelier, Josef Albers: Interaction of Color, opened 10 January 1976
1976 Bolzano
Galleria E., Josef Albers: Von der reinen Form zur Farbe/ Heinz Mack: Von der Farbe zum Reinen Licht, August 1976 [all works by Albers in this exhibition were forgeries]
1976 Cologne
Museum Ludwig, Josef Albers mit einer Strukturanalyse von Attila Kovács, 4 August–12 September 1976
1976 Krefeld
Galerie Denise René–Hans Mayer, Josef Albers, Spring 1967
1978 New Haven
Yale University Art Gallery, Paintings by Josef Albers, 22 February–26 March 1978
1979 Berlin
Galerie Skulima, Josef Albers, opened November 1979
1979 Ridgefield, Connecticut
Aldrich Museum of Contemporary Art, Josef Albers Showcase Exhibition, 29 April–2 September 1979
1980 Barcelona
EINA: Escola de Disseny i Art & l'Institut Alemany de Cultura, Josef Albers: Homenatge al quadrat i Interacció de color, 11 March–16 March 1980
1980 Bonn
Moderne Galerie, Josef Albers: Werke aus dem Besitz der Stadt Bottrop, 17 December 1980–6 February 1981
1980 Stockholm
Galerie Christel, Albers: A Collection of Paintings, January–February 1980
1981 Montclair, New Jersey
Montclair Art Museum, Josef Albers: His Art and His Influence, 15 November 1981–17 January 1982
1983 Bottrop
Inaugural exhibition of the Josef Albers Museum, opened 25 June 1983
1983 Hagen
Karl–Ernst–Osthaus–Museum, Farbe und Raum: eine pädagogische Ausstellung über Josef Albers, 9 April–8 May 1983
1983 New York
Goethe House, Josef Albers: Graphics and Paintings, 3 May–11 June 1983
1984 London
Gimpel Fils Gallery Ltd., Josef Albers: Homage to the Square, 8 May–1 June 1985
1984 New York
Sidney Janis Gallery, Paintings by Albers, 4 October–3 November 1984
1984 Paris
Galerie Denise René, Anni Albers / Josef Albers, October–December 1984
1985 Los Angeles
Margo Leavin Gallery, Josef Albers: An Exhibition of Paintings, 8 January–9 February 1985
1985 Montreal
Galerie Esperanza, Josef Albers: Homage to the Square. Works from the 50's, 60's, and 70's, 17 October–23 November 1985
1985 Montreal
Galerie H.E.C., École des Hautes Études Commerciales, Josef Albers, Hommage au carré: de la science à la magie, 1 April–10 May 1985
1986 Cologne
Galerie Teufel, Josef Albers 1888–1976: Bilder der Serie Homage to the Square, Gravurplatten und Zeichnungen der Serie Structural Constellation, 30 August–22 November 1986
1986 Coral Gables, Florida
Metropolitan Museum and Art Center, Josef Albers: Homage to the Square and Structural Constellations, 4 May–1 June 1986
1986 New York
Sidney Janis Gallery, Albers, 1 February–8 March 1986
1986 Tokyo
Satani Gallery, Josef Albers: Homage to the Square, 4–26 April 1986
1987 Düsseldorf
Galerie Hans Strelow, Josef Albers: Homage to the Square, Bilder aus dem Nachlass, 19 February–28 March 1987
1987 Madrid
Galería Theo, Albers: Obras 1955–1973, November–December 1987
1987 New York
American Federation of Arts, The Photographs of Josef Albers: A Selection from the Collection of the Josef Albers Foundation. Exhibition traveled to Mary and Leigh Block Gallery, Northwestern University, Evanston, Illinois, 15 June–9 August 1987; Des Moines Art Center, Des Moines, Iowa, 23 August–18 October 1987; Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio, 8 November 1987–3 January 1988; Museum of Modern Art, New York, NY; and other venues
1987 Paris
Albers, Galerie Denise René, Paris, 14 May–15 July 1987
1988 London
Edward Totah Gallery, Josef Albers, 17 May–23 July 1988. Exhibition traveled in whole or in part to Milan, Galleria Seno, 18 May–10 July 1988; Galleria Luce, Venice, 21 July–26 July 1988 [exhibition included forgeries]
1988 New York
Gallery Schlesinger–Boissanté, Albers, 24 March–30 April 1988
1988 New York
Museum of Modern Art, The Photographs of Josef Albers, 28 January–5 April 1988
1988 New York
Solomon R. Guggenheim Museum, Josef Albers: A Retrospective, 23 March–29 May 1988. Exhibition traveled to Staatliche Kunsthalle Baden–Baden, Germany, 22 June–24 July 1988; Bauhaus–Archiv Berlin, Germany, 10 August–2 October 1988; Pori Art Museum, Finland, 19 October–4 December 1988
1988 Tourcoing, France
Musée des Beaux–Arts, Josef Albers (1988–1976), 30 January–3 April 1988
1988 Ulm
Ulmer Museum, Josef Albers: Ausstellung zum 100. Geburtstag, 20 May–26 June 1988
1989 Ferrara
Comune di Ferrara, Gallerie Civiche d'Arte Moderna, Padiglione d'Arte Contemporanea, Josef Albers, 29 January–27 March 1989 [exhibition included forgeries]
1989 London
Mayor Gallery, Josef Albers, 7 September–14 October 1989. Exhibition traveled to Galerie Karsten Greve, Cologne, 28 October–2 December 1989
1989 Milan
Arte Struktura: Centro d'arte contemporanea, Josef Albers: Formulation–Articulation, 1–30 October 1989
1989 New York
New York, Sidney Janis Gallery, Albers, 5 October–31 October 1989
1990 Houston
Menil Collection, Josef Albers, 27 September 1990–27 January 1991
1990 Munich
Villa Stuck, Anni und Josef Albers: Eine Retrospektive, 15 December 1989–25 February 1990. Exhibition traveled to Josef Albers Museum, Bottrop, Germany, 29 April–4 June 1990
1990 Stockholm
Galerie Ressle, Josef Albers, 30 March–30 April 1990
1991 Alexandria, Virginia
Art Services International, Josef Albers: Works on Paper, Exhibition traveled to J.B. Speed Art Museum, Louisville, Kentucky, 16 September–3 November 1991; Columbia Museum of Art, Columbia, South Carolina, 6 December 1991–12 January 1992; Huntsville Museum of Art, Huntsville, Alabama, 1 February–15 March 1992; Bakersfield Museum of Art, Bakersfield, California, 4 April–17 May 1992; and other venues
1991 Marfa, Texas
Chinati Foundation, Josef Albers, 12 October–30 December 1991. Exhibition traveled to University of Hartford and Hartford School of Art, Joseloff Gallery, West Hartford, Connecticut, 8 May–26 June 1992; and Parrish Art Museum, Southampton, New York, 1 May–20 June 1993
1992 Bottrop
Josef Albers Museum, Prä–Kolumbanische Skulpturen aus der Sammlung Josef und Anni Albers, 14 October 1992–30 May 1993
1992 Cologne
Kölnischer Kunstverein, Josef Albers: Photographien 1928–1955, 24 May–19 July 1992. Exhibition traveled to Ulmer Museum, Ulm, Germany, 13 November 1992–6 January 1993; Josef Albers Museum, Bottrop, Germany, 2 February–21 March 1993; Österreichisches Museum für angewandte Kunst, Vienna, Summer 1993
1992 Tokyo
Galerie Tokoro, Josef Albers: Homage to the Square, Variant, Structural Constellation, Print, 7 September–17 October 1992
1992 Vienna
Hochschule für angewandte Kunst in Wien, Josef Albers: Homage to the Square, 5 June–1 August 1992
1993 New York
Sidney Janis Gallery, Josef Albers: The 48 x 48" Homage to the Square, 18 November–31 December 1993
1994 London
Victoria and Albert Museum, Josef Albers: Prints, 25 March–25 September 1994
1994 London
Hayward Gallery, South Bank Centre, Josef Albers, (National Touring Exhibition). Exhibition traveled to National Gallery of Modern Art, Dublin, Ireland, 4 February–27 March 1994; Mead Gallery Arts Centre, Coventry, England, 23 April–21 May 1994; Museum of Modern Art, Oxford, England, 26 June–18 September 1994; Norwich Gallery, Norfolk Institute of Art, Norwich, England, 26 September–5 November 1994
1994 Venice
Peggy Guggenheim Collection, Josef Albers: Glass, Color, and Light, 30 March–10 July 1994. Exhibition traveled to Palazzo delle Esposizioni, Rome, Italy, 21 July–3 October 1994 [Josef Albers: Vetro, colore e luce]; IVAM Centre Julio González, Valencia, Spain, 3 November 1994–8 January 1995 [Josef Albers: Vidrio, Color y Luz]; Josef Albers Museum, Bottrop, Germany, 12 February–15 April 1995; and other venues
1995 New York
André Emmerich Gallery, Josef Albers, 27 April–2 June 1995
1995 Northampton, Massachusetts
Smith College Museum of Art, Josef Albers: The Intensity of Vision, Works in Glass and Photographs, 12 October–17 December 1995
1995 Reykjavik
Syningarsalur / Exhibition Space, Josef Albers, March–April 1995
1995 Vienna
Galerie Nächst St. Stephan, Josef Albers, 23 January–11 March 1995
1996 Cologne
Galerie Karsten Greve, Josef Albers, 27 January–13 April 1996
1996 Comune de Villa Carcina, Italy
Villa Glisenti, Josef Albers, 26 October–17 November 1996
1996 London
Waddington Galleries, Josef Albers: Homages to the Square and Structural Constellations, 11 April–18 May 1996
1996 New York
André Emmerich Gallery, Josef Albers: Works on Paper, 11 January–17 February 1996
1996 New York
Art Capital International, The Art of Structure: Josef Albers and the Bauhaus, February–8 July 1996
1996 Rome
Galleria de Crescenzo and Viesti, Josef Albers–Chiara Dynys, opened 22 January 1996
1997 Paris
Galerie Denise René, Josef Albers: Homage to the Square, opened 8 April 1997
1997 Tokyo
Tama Art University Museum, Josef Albers––Formulation Articulation, 16 June–6 September 1997
1998 Bern
Kunstmuseum Bern, Josef und Anni Albers: Europa und Amerika, 6 November 1998–31 January 1999
1998 Bonn
Kunstmuseum Bonn, Josef Albers: Werke auf Papier, 8 May–2 August 1998. Exhibition traveled to Staatliches Museum Schwerin, 9 August–4 October 1998; Stiftung Bauhaus Dessau, 14 October 1998–10 January 1999; Ulmer Museum, 24 January–21 March 1999
1998 New York
Danese Gallery, Albers, 1–30 May 1998
1998 Plieux, France
Josef Albers au Château de Plieux, 5 July–21 September 1998
1999 Brussels
Galerie Xavier Hufkens, Josef Albers, 9 September–30 October 1999
1999 London
Alan Cristea Gallery, Josef Albers: Prints 1916–1976, 8 April–8 May 1999
2000 Bayreuth
Kunstmuseum Bayreuth, Josef Albers: denn Kunst sieht uns an, 9 July–10 September 2000. Exhibition traveled to Kunsthaus Kaufbeuren, Germany, 23 November 2000–4 February 2001; Kunstmuseen Paderborn, Germany, 28 February–30 April 2001
2000 Boston
Boston University Art Gallery, Josef Albers in Black and White, 2 March–9 April 2000
2001 London
South Bank Centre, Josef Albers Screenprints, October 2001–January 2010. Exhibition traveled to 46 venues in Great Britain over 9 years
2001 London
Waddington Galleries, Josef Albers: Homage to the Square Paintings and Photographs (1928–1938), 28 March–21 April 2001
2001 Milan
Galleria Karsten Greve, Josef Albers: Homage to the Square, 1 February–31 March 2001
2002 Bratislava, Slovak Republic
Múzeum Milana Dobeša, Josef Albers, 13 June–15 September 2001. Exhibition traveled to Museum Kampa, Prague, 7 February–16 March 2003 [all paintings in exhibition were forgeries]
2002 Los Angeles
Ace Gallery, Institute of Contemporary Art, Abstraction–Création: Josef Albers and Jean Arp, 1 August–30 September 2002
2002 Niigata City, Japan
Niigata City Art Museum, Methods of Josef Albers: Formulation–Articulation, 14 September–20 October 2002
2002 Paris
Galerie Denise René, Arp, Albers: Rencontre de Deux Amis, 11 April–29 June 2002
2002 Paris
Musée national d'art moderne Centre Pompidou, Josef Albers, 15 May–26 August 2002
2003 New York
Hirschl and Adler Gallery, The Prints of Josef Albers, 13 February–22 March 2003
2003 New York
PaceWildenstein, Josef Albers: Homage to Color, 9 May–27 June 2003
2004 Boston
Barbara Krakow Gallery, Josef Albers, 7 February–24 March 2004
2004 London
Waddington Galleries, Josef Albers: Small Paintings, 21 April–22 May 2004
2004 Madrid
Galería Elvira González, Josef Albers: Pinturas 1957–1969, 25 November 2004–10 January 2005
2004 New York
Cooper–Hewitt, National Design Museum, Josef and Anni Albers: Designs for Living, 1 October 2004–27 February 2005
2004 Scottsdale, Arizona
Scottsdale Museum of Contemporary Art, Josef Albers: Seeing in Color, 25 September 2004–2 January 2005
2004 Veszprém, Hungary
Galerie der Moderne, Sammlung László Vass, Homage to the Square (Tisztelet a négyzetnek): Works from the collection of the Josef Albers Museum Bottrop, 22 May–5 September 2004
2005 Bologna
Museo Morandi, Instituzione Galleria d'Arte Moderna del Comune di Bologna, Josef Albers: Omaggio al Quadrato. Una retrospettiva, 28 January–30 April 2005
2005 London
Alan Cristea Gallery, Josef Albers: The Development of an Image. Studies and Prints from the Josef and Anni Albers Foundation, 5 May–4 June 2005
2005 Ludwigshafen-am-Rhein
Wilhelm–Hack–Museum, Homage to the Square: Josef Albers "Star Blue", 26 February–22 May 2005
2005 New York
Brooke Alexander Editions, Josef Albers–Donald Judd: Structure and Color, 19 February–21 May 2005
2006 Cologne
Galerie Heinz Holtmann, Josef Albers: Interaction of Color, Homage to the Square, opened 25 March 2006
2006 Columbus, Georgia
Columbus Museum, Josef Albers: The Power of Color, 11 June–1 October 2006
2006 London
Tate Modern, Albers and Moholy–Nagy: From the Bauhaus to the New World, 9 March–4 June 2006. Exhibition traveled to Kunsthalle Bielefeld, Germany, 25 June–1 October 2006; Whitney Museum of American Art, New York, NY, 2 November 2006–21 January 2007
2006 Madrid
Museo Nacional Centro de Arte Reina Sofia, Anni y Josef Albers. Viajes por Latinoamérica, 14 November 2006–12 February 2007. Exhibition traveled to Josef Albers Museum, Bottrop, Germany, 11 March–3 June 2007; Museo de Arte de Lima, Peru, 27 June–23 September 2007; Antiguo Colegio de San Ildefonso, Mexico City, Mexico, 6 November 2007–23 March 2008; Museu Oscar Niemeyer, Curitiba, Paraná, Brazil, 29 May–24 August 2008
2006 Naples, Italy
Galleria Dina Carola, Josef Albers, 10 November–10 December 2006
2006 New York
Leonard Hutton Galleries, A Way of Seeing: Josef Albers–Yuko Shiraishi, 20 April–26 May 2006
2007 Erlangen
Städtische Sammlung Erlangen, Überblicke V: Josef Albers–Interaction of Color, 10 February–4 March 2007
2007 London
Waddington Galleries, Josef Albers: Works on Paper and Paintings, 28 February–24 March 2007
2007 Mexico City
Casa Luis Barragán, Homenaje al Cuadrado: Josef Albers, 7 November 2007–8 March 2008
2007 New York
PaceWildenstein, Josef Albers–Donald Judd: Form and Color, 26 January–24 February 2007
2007 Rome
Galleria il Bulino, Josef Albers, 19 April–19 May 2007 [exhibition included forgeries]
2008 Bottrop
Josef Albers Museum Quadrat, Farbe, Material, Raum: Donald Judd und Josef Albers, 29 June–28 September 2008
2008 Le Cateau-Cambrésis, France
Musée Matisse, Josef Albers: Vitraux, Dessins, Gravures, Typographies, Meubles, 5 July–29 September 2008
2008 New York
Gering and López Gallery, Dan Flavin–Josef Albers, 4 May–14 June 2008
2008 Sarasota, Florida
John and Mable Ringling Museum of Art, Josef Albers: Color Genius, 16 February–18 May 2008. Exhibition traveled to Museum of Fine Arts, Florida State University, 13 August–24 September 2006; Tampa Museum of Art, 15 October–17 December 2006
2009 Brooklyn
Minus Space, Josef Albers' Album Covers for Command Records, 12 December 2009–30 January 2010
2009 Cologne
Galerie Boisséree, Josef Albers: Homage to the Square, 27 January–28 February 2009
2009 London
Waddington Galleries, Josef Albers: Paintings, 1 April–2 May 2009
2009 Mannheim
Kunsthalle Mannheim, Josef Albers: Interaction of Color, 12 March–31 May 2009
2009 São Paulo
Instituto Tomie Ohtake, Josef Albers: Cor e Luz. Homenagem ao Quadrado, 16 January–1 March 2009
2010 Bottrop
Josef Albers Museum Quadrat, Alexej von Jawlensky und Josef Albers: Farbe, Abstraktion, Serie, 16 May–29 August 2010. Exhibition traveled to Museum Wiesbaden, 28 October 2011–5 February 2012
2010 Bottrop
Josef Albers Museum Quadrat, Letze Bilder: Ad Reinhardt; Josef Albers, 26 September 2010–9 January 2011
2010 Kaohsiung City, Taiwan
Kaohsiung Museum of Fine Arts, Josef Albers: Minimal Means, Maximum Effect, 3 Apri–1 August 2010
2010 Munich
Staatliche Graphische Sammlung München, Painting on Paper: Josef Albers in America, 16 December 2010–6 March 2011. Exhibition traveled to Josef Albers Museum Quadrat, Bottrop, Germany, 20 March–19 June 2011; Louisiana Museum of Modern Art, Humlebæk, Denmark, 1 July–31 August 2011; Kunstmuseum Basel Kupferstichkabinett, 5 November 2011–29 January 2012; and other venues
2010 New York
Brooke Alexander Editions, Josef Albers / Ken Price, February–June 2010
2010 Washington, D.C.
Hirshhorn Museum and Sculpture Garden, Josef Albers: Innovation and Inspiration, 13 February–11 April 2010
2011 London
Waddington Custot Galleries, Josef Albers: Biconjugates, Kinetics, and Variants, 2–26 November 2011
2011 Modena
Galleria Civica di Modena, Josef Albers, 8 October 2011–12 February 2012
2011 Waterloo, New South Wales, Australia
Dominik Mersch Gallery, Josef Albers: Albers and Seidler, 10 August–20 August 2011
2012 Berlin
Galerie Berinson, Josef Albers: Paintings, Drawings, Prints, 27 January–14 April 2012
2012 Cork, Ireland
Lewis Glucksman Gallery, University College Cork, The Sacred Modernist: Josef Albers as a Catholic Artist, 5 April–8 July 2012
2012 Paris
Galerie Denise René, Josef Albers, February–March 2012
2013 Stuart, Florida + Orono, Maine
Elliott Museum, Albers and Heirs, 9 November 2013–3 February 2014. Exhibition traveled to Lord Hall Gallery, University of Maine, 14 June–18 July 2014
2013 Citta di Castello
Pinacoteca Comunale, Josef Albers: Arte come Esperienza: I metodi di insegnamento di un maestro del Bauhaus (Josef Albers, Art as Experience: The Teaching Methods of a Bauhaus Master), 19 March–19 June 2013
2013 Madrid
Galería Cayón, Doble mirada a España: las fotos de Josef Albers y Robert Rauschenberg, 4 June–20 July 2013
2013 Milan
Fondazione Stelline, Josef Albers: Sublime Optics, 26 September 2013–6 January 2014
2013 Milan + Bottrop
Accademia di Brera, Imparare a vedere: Josef Albers professore, dal Bauhaus a Yale (Learning to See: Josef Albers as a Teacher, from the Bauhaus to Yale), 2 October–1 December 2013. Exhibition traveled to Josef Albers Museum Quadrat, 15 December 2013–30 March 2014 [Kunst als Erfahrung. Josef Albers als Lehrer–der Maler und seine Schüler]
2013 Perugia
Galleria Nazionale dell'Umbria, Albers: Spiritualita e Rigore (Josef Albers: Spirituality and Rigor), 13 March–19 June 2013
2014 Bottrop
Josef Albers Museum Quadrat, Homage to the Square: First–Last, 1950–1976, 7 May–10 August 2014
2014 London
Waddington Custot Galleries, Josef Albers: Black and White, 6 May–4 June 2014
2014 Madrid + Oslo
Fundación Juan March, Madrid, Josef Albers: Medios Minimos–Efecto Maximo (Josef Albers: Minimal Means, Maximum Effect), 28 March–6 July 2014. Exhibition traveled to Henie Onstad Kunstsenter, Høvikodden, Norway, 18 September–14 December 2014
2014 Palma + Cuenca + Bottrop
Museo Fundación Juan March, Palma, Josef Albers: Process and Printmaking, 2 April–28 June 2014. Exhibition traveled to Museo de Arte Abstracto Español, Cuenca, 9 July–5 October 2014; Josef Albers Museum Quadrat, Bottrop, November 2014–15 February 2015
2014 Palma, Mallorca
Fundació Pilar y Joan Miró, Mallorca, Josef Albers/Joan Miró: The Thrill of Seeing, 22 May–9 November 2014
2015 Los Angeles
Ace Hotel, Albers in Command, January 31, 2015
2015 Milan
Mudec, Museo delle Culture, A Beautiful Confluence: Anni and Josef Albers and the Latin American World, 28 October 2015–21 February 2016
2016 Burlington, Vermont
Burlington City Arts, Formulate/Articulate, 4–8 April 2016
2016 Madrid
Galería Cayón, Josef Albers: Homage to the Square, 25 February–23 April 2016
2016 New York
Museum of Modern Art, One and One Is Four: The Bauhaus Photocollages of Josef Albers, 23 November 2016–2 April 2017
2016 New York
David Zwirner Gallery, Josef Albers: Grey Steps, Grey Scales, Grey Ladders, 3 November–17 December 2016
2017 Abilene, Texas
Grace Museum, From the Collection: Josef Albers: Homage to the Square, 15 September 2017–10 February 2018
2017 Birmingham, Alabama
Birmingham Museum of Art, Homage to the Square: Ten Works by Josef Albers, 13 June–7 November 2017
2017 Butte, Montana
Foreground Gallery, Butte Resource Center, Josef Albers–Formulate: Articulate, 2 June–23 July 2017
2017 London
David Zwirner Gallery, Sunny Side Up, 12 January–10 March 2017
2017 New Haven, Connecticut
Yale University Art Gallery, Small-Great Objects: Anni and Josef Albers in the Americas, 3 February–25 June 2017
2017 New York + Venice + Phoenix
Solomon R. Guggenheim Museum, Josef Albers in Mexico, 3 November 2017–4 April 2018. Exhibition travels to Peggy Guggenheim Collection, Venice, 19 May–3 September 2018; Heard Museum, Phoenix, Arizona, 1 February–27 May 2019
2017 Windsor, Connecticut
Mercy Gallery, Loomis Chaffee School, Harmony, 25 April–30 May 2017
2018 Essen
Villa Hügel, Josef Albers: Interaction, 16 June–7 October 2018
2018 Siena + Cork + Zagreb
Santa Maria della Scala Museum, Siena, Voyage Inside a Blind Experience, 5 April–4 July 2018. Exhibition travels to Glucksman Gallery, Cork, Ireland, 26 July–4 November 2018; Museum of Contemporary Art, Zagreb, Croatia, 10 January–21 April 2019
2019 Bellinzona, Switzerland
Museo Villa dei Cedri, Josef Albers. Anatomia di «Omaggio al Quadrato» (Josef Albers: Anatomy of Homage to the Square), 28 September 2019–2 February 2020
2019 Bottrop, Germany
Josef Albers Museum Quadrat Bottrop, Der junge Josef Albers. Aufbruch in die Moderne (Early Josef Albers: Becoming Modern), 22 September 2019–12 January 2020
2019 New York
David Zwirner Gallery, Sonic Albers, 8 January–16–February 2019
2019 Seoul
Kontemporary 1, Josef Albers: Interaction of Color, 18 January–March 2019
2019 Tucson, Arizona
Tucson Museum of Art, Learning to See: Josef Albers, Selected Prints from the Formulation: Articulation Series, 3 May–7 July 2019
2020 Sweet Briar, Virginia
Pannell Art Gallery, Sweet Briar College, Josef Albers and the Interaction of Color, 30 January–15 June 2020
2021 Boston
Boston University Art Galleries, Formulation: Articulation, Josef Albers, 1 October–12 December 2021
2021 Charlotte, North Carolina
Bechtler Museum of Modern Art, Josef Albers: The Interaction of Color, 9 January–22 August 2021
2021 London
Cristea Roberts Gallery, Discovery and Invention: The Early Graphic Works of Josef Albers, 10 December 2021–22 January 2022
2022 Dusseldorf, Germany
Galerie Ludorff, Josef Albers. Colors in Play, 5 March–14 May 2022
2022 Hong Kong
David Zwirner, Josef Albers: Primary Colors, 18 January–6 March 2022