The Addison Gallery, located on the campus of Phillips Academy in Andover, MA, is free and open to the public. Plan your visit >
Our Mission
Home to a world-class collection of American art, the Addison Gallery, located on the campus of Phillips Academy in Andover, MA, presents an adventurous exhibition program, hosts a vital artist-in-residence program, and works collaboratively with students and faculty at the Academy and in neighboring communities. Through our ongoing query What is America?, the Addison seeks to engage with the history of American art and American experience—past, present, and future.
About Our Collection
Comprised of more than 25,000 works in all media—painting, sculpture, photography, drawings, prints, and decorative arts—from the 18th century to the present, the Addison Gallery’s collection of American art is one of the most important in the world.
The museum’s founding collection included major works by such prominent American artists as John Singleton Copley, Thomas Eakins, Winslow Homer, Maurice Prendergast, John Singer Sargent, John Twachtman, and James McNeill Whistler.
In the nine decades since, aggressive purchasing and generous gifts have added works by such artists as Mark Bradford, Alexander Calder, Stuart Davis, Arthur Dove, Walker Evans, Robert Frank, Marsden Hartley, Hans Hofmann, Edward Hopper, Kerry James Marshall, Eadweard Muybridge, Georgia O’Keeffe, Jackson Pollock, Charles Sheeler, Lorna Simpson, John Sloan, Jaune Quick-to-See Smith, Frank Stella, Kara Walker, and Stanley Whitney.
We’re beyond thrilled to announce the April 27th debut of two large-scale, site-specific installations by Jennifer Cecere commissioned in honor of Abbot & Andover at 50: Then, Now, Next!
“Abbot & Andover at 50” aims to recognize the legacy of Abbot Academy, one of the first educational institutions in New England founded for girls and women, and the ways it has impacted the Andover community. Cecere, a member of the Abbot Academy Class of 1969, has spent much of her career creating works of art that activate public spaces while challenging traditional perspectives on “women’s work.” Long associated with the Pattern and Decoration movement, which challenged hierarchies by referencing marginalized artistic traditions like quilting, metalwork, and embroidery, Cecere is best known for bold pieces that embrace and reimagine the domestic doily. For centuries, these accessories protected furniture, added decorative touches, and showcased women’s needlework skills. In Cecere’s installations, free from the constraints of household spaces, the doilies take on a much larger role.
For “Abbot & Andover at 50,” Cecere has created works that recontextualize the humble lace ornament and dynamically link both campuses. Abbot Doily Bench, which takes the shape of an accordion-folded doily and is over nine feet long, five feet wide, and eight feet high, will be displayed on the grounds of the original Abbot campus, while Women’s Work, 20 feet in diameter, will hang on the façade of the Addison on the original Andover campus. Together, the two laser-cut aluminum pieces encourage reconsideration of the habitually overlooked contributions of women artists and, by extension, the often underappreciated yet lasting impact of Abbot Academy on the culture and traditions of Phillips Academy.
There will be many opportunities to engage with @cecerejen and her incredible work this spring and summer. Stay tuned for more information!
Generous support for these installations has been provided by the Abbot Academy Fund, continuing Abbot’s tradition of boldness, innovation, and caring.
#jennifercecere #abbotacademyfund #abbotacademy #patternanddecoration #andover #publicart
We’re beyond thrilled to announce the April 27th debut of two large-scale, site-specific installations by Jennifer Cecere commissioned in honor of Abbot & Andover at 50: Then, Now, Next!
“Abbot & Andover at 50” aims to recognize the legacy of Abbot Academy, one of the first educational institutions in New England founded for girls and women, and the ways it has impacted the Andover community. Cecere, a member of the Abbot Academy Class of 1969, has spent much of her career creating works of art that activate public spaces while challenging traditional perspectives on “women’s work.” Long associated with the Pattern and Decoration movement, which challenged hierarchies by referencing marginalized artistic traditions like quilting, metalwork, and embroidery, Cecere is best known for bold pieces that embrace and reimagine the domestic doily. For centuries, these accessories protected furniture, added decorative touches, and showcased women’s needlework skills. In Cecere’s installations, free from the constraints of household spaces, the doilies take on a much larger role.
For “Abbot & Andover at 50,” Cecere has created works that recontextualize the humble lace ornament and dynamically link both campuses. Abbot Doily Bench, which takes the shape of an accordion-folded doily and is over nine feet long, five feet wide, and eight feet high, will be displayed on the grounds of the original Abbot campus, while Women’s Work, 20 feet in diameter, will hang on the façade of the Addison on the original Andover campus. Together, the two laser-cut aluminum pieces encourage reconsideration of the habitually overlooked contributions of women artists and, by extension, the often underappreciated yet lasting impact of Abbot Academy on the culture and traditions of Phillips Academy.
There will be many opportunities to engage with @cecerejen and her incredible work this spring and summer. Stay tuned for more information!
Generous support for these installations has been provided by the Abbot Academy Fund, continuing Abbot’s tradition of boldness, innovation, and caring.
#jennifercecere #abbotacademyfund #abbotacademy #patternanddecoration #andover #publicart
Crank up the Bonnie Tyler because it’s eclipse day in America! Don’t follow the example of a certain former president by staring directly at the sun. Wear your protective eyewear and try to avoid thinking about how—within a week—we’ve seen the Statue of Liberty get struck by lightning followed by an earthquake followed by an eclipse. The medieval peasant in me is freaking out.
Unidentified photographer. Viewing the solar eclipse in France, 1961. Gelatin silver print. Gift of W.M. Hunt
#eclipse #totaleclipseoftheheart #bonnietyler #eclipse2024 #fourhorsemen #protectiveeyewear #vintagefrance #livinginapowderkegandgivingoffsparks #americanart #whatisamerica #addisongalleryofamericanart
Crank up the Bonnie Tyler because it’s eclipse day in America! Don’t follow the example of a certain former president by staring directly at the sun. Wear your protective eyewear and try to avoid thinking about how—within a week—we’ve seen the Statue of Liberty get struck by lightning followed by an earthquake followed by an eclipse. The medieval peasant in me is freaking out.
Unidentified photographer. Viewing the solar eclipse in France, 1961. Gelatin silver print. Gift of W.M. Hunt
#eclipse #totaleclipseoftheheart #bonnietyler #eclipse2024 #fourhorsemen #protectiveeyewear #vintagefrance #livinginapowderkegandgivingoffsparks #americanart #whatisamerica #addisongalleryofamericanart
Did you feel that earthquake? We didn’t…but we refuse to fall behind in the museum meme arms race. We allowed the Whitney to post a Donald Judd after the Kim Kardashian fiasco before we did and we will not stand by and let that happen to us again!
Ralph Eugene Meatyard (1925-1972). Untitled (Motion-Sound Landscape), 1969. Gelatin silver print. Museum purchase, 1974.22.9
#ralpheugenemeatyard #earthquake #eastcoastearthquake #dinalohan #southernphotography #meatyard #topicalpost #americanart #whatisamerica #addisongalleryofamericanart
Did you feel that earthquake? We didn’t…but we refuse to fall behind in the museum meme arms race. We allowed the Whitney to post a Donald Judd after the Kim Kardashian fiasco before we did and we will not stand by and let that happen to us again!
Ralph Eugene Meatyard (1925-1972). Untitled (Motion-Sound Landscape), 1969. Gelatin silver print. Museum purchase, 1974.22.9
#ralpheugenemeatyard #earthquake #eastcoastearthquake #dinalohan #southernphotography #meatyard #topicalpost #americanart #whatisamerica #addisongalleryofamericanart
On this holy day of #ThrowbackThursay let’s take a trip back to 1930 (not really, we aren’t strong enough to handle that). Instead, let us gaze upon these recently digitized photographs that document the construction of our beloved Addison Gallery of American Art!
These images were drawn from an album of photographs of buildings designed by Charles A. Platt from the collection of the New York Public Library. Thank you to the @nypl for digitizing this album (never a glamorous undertaking) and for making these scans available for download through your website—check it out! We love libraries.
Learn more about the Addison’s founding and early days this Sunday at our Defining American Art: Then and Now symposium! This program is part of Lunder Institute@ and is co-presented by the Addison and the @lunderinstitute, an initiative of the @colbymuseum. Click the link in our bio to snag one of the last remaining—free—tickets and see you this weekend!
Images courtesy of: The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. “Addison Art Gallery. Andover, Mass.” The New York Public Library Digital Collections. 1930.
#charlesaplatt #addisongalleryofamericanart #construction #1930s #americanart #whatisamerica
On this holy day of #ThrowbackThursay let’s take a trip back to 1930 (not really, we aren’t strong enough to handle that). Instead, let us gaze upon these recently digitized photographs that document the construction of our beloved Addison Gallery of American Art!
These images were drawn from an album of photographs of buildings designed by Charles A. Platt from the collection of the New York Public Library. Thank you to the @nypl for digitizing this album (never a glamorous undertaking) and for making these scans available for download through your website—check it out! We love libraries.
Learn more about the Addison’s founding and early days this Sunday at our Defining American Art: Then and Now symposium! This program is part of Lunder Institute@ and is co-presented by the Addison and the @lunderinstitute, an initiative of the @colbymuseum. Click the link in our bio to snag one of the last remaining—free—tickets and see you this weekend!
Images courtesy of: The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. “Addison Art Gallery. Andover, Mass.” The New York Public Library Digital Collections. 1930.
#charlesaplatt #addisongalleryofamericanart #construction #1930s #americanart #whatisamerica
Join us tomorrow—Friday, March 29th—for Addison Late ‘til 8! We cannot think of a better Friday evening activity!
All are invited to join us for evening open hours at the Addison! Explore the exhibitions, participate in drop-in activities hosted by the Addison Community Ambassadors, hear from students who created a new mural (talk at 7:15pm), and meet Edward. E. Elson Artist-in-Residence Sue McNally.
Free and open to the public.
Photograph of delighted Addison visitors at our latest opening celebration by @kathytphotos.
#addisongalleryofamericanart
Join us tomorrow—Friday, March 29th—for Addison Late ‘til 8! We cannot think of a better Friday evening activity!
All are invited to join us for evening open hours at the Addison! Explore the exhibitions, participate in drop-in activities hosted by the Addison Community Ambassadors, hear from students who created a new mural (talk at 7:15pm), and meet Edward. E. Elson Artist-in-Residence Sue McNally.
Free and open to the public.
Photograph of delighted Addison visitors at our latest opening celebration by @kathytphotos.
#addisongalleryofamericanart
The Addison mourns the loss of the great American artist Richard Serra.
In 2003 the Addison organized a major traveling survey of Serra’s prints, the first American museum study of the artist’s graphic oeuvre—Richard Serra: Large Scale Prints.
In the accompanying exhibition catalogue Allison Kemmerer, now the Addison’s Mary Stripp and R. Crosby Kemper Director notes: “In Serra’s work, as in the layout of Zen temple gardens, ‘directions, continuity, and paths work together to deny a fixed measure.’ Grounded in the logic of construction and the realities of materials, Richard Serra’s art seems to present only irreducible and fundamental physical truths. Yet, within this apparent transparency, mystery endures.”
Richard Serra (1939-2024). Clara Clara I, 1984. Paintstick on screenprint on paper. Gift of Jane, John and Alexandra (PA 1996) Olson, 1997.79
#richardserra #americanart #whatisamerica #addisongalleryofamericanart
The Addison mourns the loss of the great American artist Richard Serra.
In 2003 the Addison organized a major traveling survey of Serra’s prints, the first American museum study of the artist’s graphic oeuvre—Richard Serra: Large Scale Prints.
In the accompanying exhibition catalogue Allison Kemmerer, now the Addison’s Mary Stripp and R. Crosby Kemper Director notes: “In Serra’s work, as in the layout of Zen temple gardens, ‘directions, continuity, and paths work together to deny a fixed measure.’ Grounded in the logic of construction and the realities of materials, Richard Serra’s art seems to present only irreducible and fundamental physical truths. Yet, within this apparent transparency, mystery endures.”
Richard Serra (1939-2024). Clara Clara I, 1984. Paintstick on screenprint on paper. Gift of Jane, John and Alexandra (PA 1996) Olson, 1997.79
#richardserra #americanart #whatisamerica #addisongalleryofamericanart
It’s time to support what you love (not to be immodest but we hope you love us as much as we love you—no pressure)—and elevate your impact for the Addison Gallery of American Art!
The PA Giving Day tradition means so much to our campus community, and we hope you’ll join us right now. We’re offering you a special opportunity to multiply the power of your support—a pair of donors will contribute $𝟯𝟭𝟬 𝗳𝗼𝗿 𝗲𝗮𝗰𝗵 𝗼𝗳 𝘁𝗵𝗲 𝗳𝗶𝗿𝘀𝘁 𝟭𝟬𝟬 𝗴𝗶𝗳𝘁𝘀 𝗿𝗲𝗰𝗲𝗶𝘃𝗲𝗱, unlocking an additional $31,000 for the Addison Gallery!
The Addison relies on the generosity of all of our friends out there to support our cutting-edge exhibitions, incredible educational programs, and world-class collection. Please show your support today—every gift counts!
Click the link in our bio and be sure to designate the Addison as the beneficiary of your gift!
Thank you! We promise this won’t be as painful as an NPR pledge drive!
#pagivingday #phillipsacademy #addisongalleryofamericanart
It’s time to support what you love (not to be immodest but we hope you love us as much as we love you—no pressure)—and elevate your impact for the Addison Gallery of American Art!
The PA Giving Day tradition means so much to our campus community, and we hope you’ll join us right now. We’re offering you a special opportunity to multiply the power of your support—a pair of donors will contribute $𝟯𝟭𝟬 𝗳𝗼𝗿 𝗲𝗮𝗰𝗵 𝗼𝗳 𝘁𝗵𝗲 𝗳𝗶𝗿𝘀𝘁 𝟭𝟬𝟬 𝗴𝗶𝗳𝘁𝘀 𝗿𝗲𝗰𝗲𝗶𝘃𝗲𝗱, unlocking an additional $31,000 for the Addison Gallery!
The Addison relies on the generosity of all of our friends out there to support our cutting-edge exhibitions, incredible educational programs, and world-class collection. Please show your support today—every gift counts!
Click the link in our bio and be sure to designate the Addison as the beneficiary of your gift!
Thank you! We promise this won’t be as painful as an NPR pledge drive!
#pagivingday #phillipsacademy #addisongalleryofamericanart
“What is this, Horse-ville? ‘Cause I am surrounded by neigh-sayers! Wordplay!”—Peter Shaffer, Equus (1973)
Today is “International Happiness Day” according to the United Nations—the international arbiter of happiness. This painting of a very, very “happy” horse by Philip Evergood doesn’t get out of the “barn” much but maybe, someday, this stallion will be free to gallop around the galleries, terrorizing an entire generation of museumgoers. Whimsy!
Philip Evergood (1901-1973). Happy Horse, 1946. Oil on canvas. Bequest of Ruth Kainen, 2010.108
#internationalhappinessday #philipevergood #happyhorse #happyhorses #animalhusbandry #equus #americanart #whatisamerica #addisongalleryofamericanart (The quote is actually from 30 Rock if you’ve read this far.)
“What is this, Horse-ville? ‘Cause I am surrounded by neigh-sayers! Wordplay!”—Peter Shaffer, Equus (1973)
Today is “International Happiness Day” according to the United Nations—the international arbiter of happiness. This painting of a very, very “happy” horse by Philip Evergood doesn’t get out of the “barn” much but maybe, someday, this stallion will be free to gallop around the galleries, terrorizing an entire generation of museumgoers. Whimsy!
Philip Evergood (1901-1973). Happy Horse, 1946. Oil on canvas. Bequest of Ruth Kainen, 2010.108
#internationalhappinessday #philipevergood #happyhorse #happyhorses #animalhusbandry #equus #americanart #whatisamerica #addisongalleryofamericanart (The quote is actually from 30 Rock if you’ve read this far.)
Join us on April 7th from 12:30 to 4:30 for Defining American Art: Then and Now! Click the link in our bio to learn more and to register for this free symposium co-presented by the Addison and @lunderinstitute.
The Addison’s founding history provides a snapshot into the state—and stakes—of American art in the 1920s and 30s. “Defining American Art: Then and Now” is a two-part symposium that takes the Addison’s own formation as a case study to track evolving notions of American art over the last century, with special attention to questions of citizenship and national identity as they inform the field today.
This program is part of Lunder Institute@, co-presented by the Lunder Institute for American Art, an initiative of the Colby Museum of Art.
Lunder Institute@ brings together artists and leaders of prominent American art museums to look critically at American art, its history, its future, and its evolution, and to engage publicly with a single question: What is the state of American art?
Panelists include Hardeep Dhillon, Assistant Professor of History, University of Pennsylvania; Miguel Luciano, artist; Andrew McClellan, Professor, History of Art and Architecture, Tufts University; Marina Tyquiengco, Ellen McColgan Associate Curator of Native American Art, Museum of Fine Arts, Boston; Rachel Vogel, Assistant Curator, Addison Gallery of American Art; Gordon Wilkins, Robert M. Walker Curator, Addison Gallery of American Art; and Stephanie Sparling Williams, Andrew W. Mellon Curator of American Art, Brooklyn Museum.
See you on Sunday, April 7th! We honestly cannot think of a better way to spend a Sunday.
#lunderinstitute #definingamericanart #symposium #americanart #whatisamerica #addisongalleryofamericanart
Join us on April 7th from 12:30 to 4:30 for Defining American Art: Then and Now! Click the link in our bio to learn more and to register for this free symposium co-presented by the Addison and @lunderinstitute.
The Addison’s founding history provides a snapshot into the state—and stakes—of American art in the 1920s and 30s. “Defining American Art: Then and Now” is a two-part symposium that takes the Addison’s own formation as a case study to track evolving notions of American art over the last century, with special attention to questions of citizenship and national identity as they inform the field today.
This program is part of Lunder Institute@, co-presented by the Lunder Institute for American Art, an initiative of the Colby Museum of Art.
Lunder Institute@ brings together artists and leaders of prominent American art museums to look critically at American art, its history, its future, and its evolution, and to engage publicly with a single question: What is the state of American art?
Panelists include Hardeep Dhillon, Assistant Professor of History, University of Pennsylvania; Miguel Luciano, artist; Andrew McClellan, Professor, History of Art and Architecture, Tufts University; Marina Tyquiengco, Ellen McColgan Associate Curator of Native American Art, Museum of Fine Arts, Boston; Rachel Vogel, Assistant Curator, Addison Gallery of American Art; Gordon Wilkins, Robert M. Walker Curator, Addison Gallery of American Art; and Stephanie Sparling Williams, Andrew W. Mellon Curator of American Art, Brooklyn Museum.
See you on Sunday, April 7th! We honestly cannot think of a better way to spend a Sunday.
#lunderinstitute #definingamericanart #symposium #americanart #whatisamerica #addisongalleryofamericanart
“So many of the most striking images here — of the Civil War, of economic conditions, of the civil rights protests — present mighty externalities, lives shared, public issues. Much of ‘A Long Arc’ could illustrate a textbook for a civics or American history course, and that course would be well worth taking.”
Thank you @bostonglobe for such an insightful and enthusiastic review of A Long Arc: Photography and the American South since 1845. Come see the show for yourself and join us at our opening reception this Saturday from 4-6! Free and open to all as always!
A Long Arc: Photography and the American South since 1845 is organized by the High Museum of Art, Atlanta. Generous support for the Addison’s presentation of the exhibition has been provided by the Francesca S. Woodman Exhibitions Fund.
#alongarc #southernphotography #americansouthwest #americanart #whatisamerica #addisongalleryofamericanart
“So many of the most striking images here — of the Civil War, of economic conditions, of the civil rights protests — present mighty externalities, lives shared, public issues. Much of ‘A Long Arc’ could illustrate a textbook for a civics or American history course, and that course would be well worth taking.”
Thank you @bostonglobe for such an insightful and enthusiastic review of A Long Arc: Photography and the American South since 1845. Come see the show for yourself and join us at our opening reception this Saturday from 4-6! Free and open to all as always!
A Long Arc: Photography and the American South since 1845 is organized by the High Museum of Art, Atlanta. Generous support for the Addison’s presentation of the exhibition has been provided by the Francesca S. Woodman Exhibitions Fund.
#alongarc #southernphotography #americansouthwest #americanart #whatisamerica #addisongalleryofamericanart
Please join us this Saturday, March 9th, from 4:00 to 6:00 for our spring opening reception!
Join us in celebrating the new exhibitions: A Long Arc: Photography and the American South since 1845; Robert Frank and Todd Webb: Across America, 1955; Finding American Form: 20th-Century Selections from the Permanent Collection; and Laying the Foundation: Exploring the Nucleus of the Addison’s Collection. Enjoy great company, refreshments, and the best of American art!
Free and open to the public!
#alongarc #robertfrank #toddwebb #americansouth #theamericans #southernphotography #americanart #20thcenturyart #19thcenturyart #americanphotography #whatisamerica #addisongalleryofamericanart
Please join us this Saturday, March 9th, from 4:00 to 6:00 for our spring opening reception!
Join us in celebrating the new exhibitions: A Long Arc: Photography and the American South since 1845; Robert Frank and Todd Webb: Across America, 1955; Finding American Form: 20th-Century Selections from the Permanent Collection; and Laying the Foundation: Exploring the Nucleus of the Addison’s Collection. Enjoy great company, refreshments, and the best of American art!
Free and open to the public!
#alongarc #robertfrank #toddwebb #americansouth #theamericans #southernphotography #americanart #20thcenturyart #19thcenturyart #americanphotography #whatisamerica #addisongalleryofamericanart
A Long Arc: Photography and the American South opens this Saturday!
The South has occupied an uneasy place in the history of photography as both an example of regional exceptionalism and as the crucible from which American identity has been forged. As the first major survey of Southern photography in twenty-five years, this exhibition will examine that complicated history and reveal the South’s critical impact on the evolution of the medium, posing timely questions about American culture and character.
Featuring many works from the High’s extensive collection along with important loans from private and public collections, A Long Arc will include photographs of the American Civil War, which transformed the practice of photography across the nation and established visual codes for articulating national identity and expressing collective trauma. Photographs from the 1930s–1950s, featuring many created for the Farm Security Administration, will demonstrate how that era defined a new kind of documentary aesthetic that dominated American photography for decades and included jarring and unsettling pictures that exposed economic and racial disparities. With works drawn from the High’s unparalleled collection of civil rights-era photography, the exhibition will show how photographs of the movement in the decade that followed galvanized the nation with raw depictions of violence and the struggle for justice. Contemporary photography featured in the exhibition will demonstrate how photographers working today continue to explore Southern history and themes to grasp American identity.
A Long Arc: Photography and the American South since 1845 is organized by the High Museum of Art, Atlanta. Generous support for the Addison’s presentation of the exhibition has been provided by the Francesca S. Woodman Exhibitions Fund.
RaMell Ross (American, born 1982), iHome, 2013, pigmented inkjet print, High Museum of Art, Atlanta, purchase with funds from the Marilyn and Donald Keough Family Foundation, 2022.159. © RaMell Ross.
#alongarc #ramellross #americansouth #photographyexhibition #americanart #whatisamerica #addisongalleryofamericanart
A Long Arc: Photography and the American South opens this Saturday!
The South has occupied an uneasy place in the history of photography as both an example of regional exceptionalism and as the crucible from which American identity has been forged. As the first major survey of Southern photography in twenty-five years, this exhibition will examine that complicated history and reveal the South’s critical impact on the evolution of the medium, posing timely questions about American culture and character.
Featuring many works from the High’s extensive collection along with important loans from private and public collections, A Long Arc will include photographs of the American Civil War, which transformed the practice of photography across the nation and established visual codes for articulating national identity and expressing collective trauma. Photographs from the 1930s–1950s, featuring many created for the Farm Security Administration, will demonstrate how that era defined a new kind of documentary aesthetic that dominated American photography for decades and included jarring and unsettling pictures that exposed economic and racial disparities. With works drawn from the High’s unparalleled collection of civil rights-era photography, the exhibition will show how photographs of the movement in the decade that followed galvanized the nation with raw depictions of violence and the struggle for justice. Contemporary photography featured in the exhibition will demonstrate how photographers working today continue to explore Southern history and themes to grasp American identity.
A Long Arc: Photography and the American South since 1845 is organized by the High Museum of Art, Atlanta. Generous support for the Addison’s presentation of the exhibition has been provided by the Francesca S. Woodman Exhibitions Fund.
RaMell Ross (American, born 1982), iHome, 2013, pigmented inkjet print, High Museum of Art, Atlanta, purchase with funds from the Marilyn and Donald Keough Family Foundation, 2022.159. © RaMell Ross.
#alongarc #ramellross #americansouth #photographyexhibition #americanart #whatisamerica #addisongalleryofamericanart
