DRESDEN.- The Gerhard Richter Archive in Dresden has opened a special anniversary exhibition marking two decades of work dedicated to one of the most influential artists of our time. Founded in 2006 as part of the Staatliche Kunstsammlungen Dresden, the Archive has spent the last 20 years collecting, preserving, and researching materials related to the life and work of Gerhard Richter. Now, to celebrate that milestone, it is offering the public a rare look behind the scenes.

The exhibition brings visitors into the Archive’s usually closed storage spaces, revealing a carefully curated selection of artworks, exhibition models, sketches, photographs, and personal objects connected to Richter’s career. Many of these materials have never been shown or published before, making the presentation a unique opportunity to encounter lesser-known aspects of the artist’s practice.

At the heart of the exhibition are works that entered the Archive as gifts, including the painting Umgeschlagenes Blatt (70-4) and the two six-part editions Canary Landscapes I and Canary Landscapes II. These recent acquisitions underscore the close relationship between the artist, the Archive, and its supporters, and highlight the ongoing growth of the collection.

One of the exhibition’s most compelling sections focuses on Gerhard Richter not only as an artist, but as a curator of his own work. Through room models, hanging plans, and sketches, the show traces Richter’s long-standing engagement with how his paintings are displayed in space. From his early years studying in Dresden to his international breakthrough, Richter has consistently shaped the presentation of his work. A standout highlight is his hanging plan for the 1972 Venice Biennale, a pivotal moment in his career, alongside a current model of the Albertinum that reflects his recent reconfiguration of his galleries there.

The exhibition also turns attention to objects rarely associated with museum displays but deeply embedded in everyday life. Portrait photographs by renowned photographers show Richter at work in his studio, while items such as the Obelisco porcelain service, the carpet 1024 Colors, and records and books featuring his imagery reveal how his art has quietly entered domestic and popular contexts. Together, these objects illustrate how Richter’s work circulates far beyond gallery walls, sometimes without viewers even realizing it.

Accompanying the exhibition is a newly published volume, Gerhard Richter Archive 2006–2026, which documents the Archive’s first 20 years and reflects on its role in shaping the understanding of Richter’s oeuvre. Both scholarly and accessible, the book mirrors the spirit of the exhibition itself: a celebration not only of an artist, but of the sustained archival work that keeps his art alive, visible, and open to new interpretations.

With this anniversary exhibition now open, the Gerhard Richter Archive affirms its position as a vital center for research and discovery, offering fresh perspectives on an artist whose work continues to define and challenge contemporary art.