On August 13, 2025, artist and Professor Renée Green’s exhibition Americas : Veritas opened to the public at Dia Chelsea, in New York City. The exhibition will be on view until September 6, 2025.
Created during Pacing, the artist’s two-year residency at Harvard University’s Carpenter Center for the Visual Arts in Cambridge, Massachusetts, for Dia’s Chelsea space Green has reconceived her film Americas : Veritas, set to a pulsating techno track, as an enveloping four-channel installation.
In this presentation, the 360-degree optics in the film elicit a feeling of dislocation as the structures unravel. This totalizing perspective also points to the contradiction of Le Corbusier’s designs: a tenet of his manifesto, Cinq points d’architecture (Five Points of Architecture, 1927), was to allow visual connections between spaces through an open floor plan and free facade, which conversely encourage surveillance and alienation.
While images melt and fuse the only built structures by Le Corbusier in the Americas–the Carpenter Center at Harvard, and Casa Curutchet in La Plata, Argentina–a roving consciousness articulated through scrolling text wonders: “ Congealed Americas / Now. / Being. / Here. / Gravitational pull back? / Found Missing. / Comprehensibly Abstract.”
The moving-image installation is complemented by Americas : Veritas Opacities (2023), a print that functions as an interface with elsewhere—disparate sites, geographies, and points in time—and provides a window into Green’s associative thinking about this project via book-cover reproductions and photographic images from the artist’s research in Argentina, providing a more nuanced understanding of Le Corbusier and his influence on modern architecture’s trajectory in the Americas.
Americas : Veritas presentation will culminate with a public event on September 6, in which the artist will be in conversation with Mason Leaver-Yap, curator of Green’s survey exhibition Inevitable Distances, and Jordan Carter, Dia’s curator and co-department head.
The exhibition was curated by Jordan Carter, and Ella den Elzen, curatorial assistant at Dia.
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