SANTA FE, NM.- SITE SANTA FE launches an eventful 2025 with a solo exhibition by feminist icon Harmony Hammond. Hammond’s deceptively simple, near- monochrome paintings generate a robust dialogue between marginalized voices and the traditions of modernist abstraction. As a leading figure in the development of the feminist art movement in the 1970s, Hammond forged a commitment to reclaiming abstraction for gendered politics that still animates her practice. By incorporating found textiles and materials linked to “women’s work” into her paintings, Hammond seeks to topple hierarchies of fine art and craft, reclaiming the domestic arts’ rightful place in the history of abstraction. Organized by Brandee Caoba, Curator, with Samantha Manion Chavez, Curatorial Assistant, SITE SANTA FE’s exhibition features a focused selection of Hammond’s work from the past ten years.

The exhibition’s title, FRINGE, highlights the metaphoric potential of Hammond’s formalist yet avidly handmade work. She is drawn to the periphery over the mainstream and prompts viewers to contemplate the creative energy that resides in outer limits. “I think of it as a kind of survivor aesthetic: one of rupture, suture, and endurance,” Hammond has said. Edges have long been a feature of her work across media, and her paintings are built up from pieces of frayed cloth drawn from non traditional sources—burlap sacks, historic flags, and old quilts layered with meaning. Visibly deteriorating, they are salvaged and stabilized through the addition of paint as an adhesive or binder, along with straps, grommets, and lengths of cord that reinforce attachment and connectivity.

"Harmony Hammond's use of materials and techniques is not only aesthetic, but symbolic,” Caoba says. “The works in FRINGE bear the marks of struggle, mending, and repair, pressing us to confront, to question, and to remember the resilience of those pushed to the margins. They trace threads of collective memory that resist erasure and hold the weight of history—at a moment when critical thought becomes an act of survival and resistance."

The artist’s material vocabulary and physical activity (of piecing, patching, bandaging, and grommeting) implies a bodily presence, which seems to haunt her non-figurative paintings below the surface. Layers of reddish color that underlie the bone, buff, and ochre palette she favors suggest wounded flesh beneath the skin of paint, unsettling the logic and order of a neutral grid structure with pigment that oozes from fissures in the picture plane. Fragments of fabrics, quilts, and bandages intended to cover the body simultaneously expose its inherent vulnerability. Her recent series of Chenilles, Bandaged Grids, and Cross Paintings imply certain intersections and accumulations (as well as themes of religious belief or humanitarian and medical aid). Patched is a red-stained quilt of open sores, created in the aftermath of the overturning of Roe v. Wade. The tears and folds of Hammond’s paintings have a visceral quality that can evoke bodily peril. “It’s about what’s hidden,” she has said, “what’s revealed, buried, muffled, pushing up from underneath.”

Harmony Hammond (b. 1944) is an artist, writer, and curator. A leading figure in the development of the feminist art movement in New York in the early 1970s, she was a co- founder of A.I.R. (1972)—the first women’s cooperative art gallery in New York and of Heresies: A Feminist Publication on Art & Politics (1976). Since 1984, Hammond has lived and worked in Northern New Mexico, teaching at the University of Arizona in Tucson from 1989 through 2006. Her earliest feminist work combined gender politics with Post-Minimal concerns of materials and process, frequently occupying a space between painting and sculpture. For years, she has worked with found and repurposed materials as a means of introducing content to the world of abstraction.

A retrospective of Hammond’s work, Material Witness, Five Decades of Art, was presented in 2019 at The Aldrich Contemporary Art Museum in Ridgefield, CT, and traveled to the Sarasota Art Museum in Florida in 2020. Her work has been the subject of numerous solo exhibitions including, Becoming/Unbecoming Monochrome, RedLine, Denver, CO (2014); Big Paintings 2002–2005, Center for Contemporary Arts, Santa Fe, NM (2005); Monster Prints, SITE SANTA FE, NM (2002); and Ten Years 1970–1980, Glen Hanson Gallery and W.A.R.M, Minneapolis, MN (1981). Significant group exhibitions include Whitney Biennial 2024: Even Better Than the Real Thing, Whitney Museum of American Art, New York, NY; Woven Histories: Textiles and Modern Abstraction (2023), organized by the National Gallery of Art, Washington, DC; Making Their Mark, originating at Shah Garg Foundation, New York, NY (2023); Women in Abstraction, which originated at Centre Pompidou, Paris (2021) and WACK!: Art and the Feminist Revolution, which originated at the Museum of Contemporary Art, Los Angeles, CA (2007).

Hammond’s work is in the permanent collections of the Art Institute of Chicago, Chicago, IL; The Metropolitan Museum of Art, New York, NY; Museum of Modern Art, New York, NY; National Museum of Women in the Arts, Washington, DC; New Mexico Museum of Art, Santa Fe, NM; and Walker Art Center, Minneapolis, MN, among others. She is the recipient of many awards and fellowships, including the Anonymous Was a Woman Award (2014); the Lifetime Achievement Award, Women’s Caucus for Art (2014); the Distinguished Feminist Award, College Art Association (2013); and a John Simon Guggenheim Memorial Foundation Fellowship (1991). Hammond’s book Wrappings: Essays on Feminism, Art and the Martial Arts (1984) is a foundational publication on feminist art, and her groundbreaking Lesbian Art in America: A Contemporary History (2000) received a Lambda Literary Award and remains the primary text on the subject. Her archive is housed at the Getty Research Institute in Los Angeles, CA.