Renée Green: The Equator Has Moved Book Launch
Thursday, March 12, 2026
6:30 pm
Dia Chelsea
537 West 22nd Street
New York, New York
Free. Spaces are limited; register here. With registration, enjoy a 10% discount on the publication during the event.
Please join a celebratory evening to launch Renée Green: The Equator Has Moved. A conversation between artist and ACT professor Renée Green, Alexander Alberro, and James Meyer is moderated by Jordan Carter, Dia curator and co–department head.
This first comprehensive U.S. monograph on Green’s work provides a foundational introduction to the artist’s practice and addresses critical gaps in existing scholarship. In her uniquely recursive process, Green juxtaposes a range of materials—archival, documentary and literary fragments, personal and found ephemera, speculative narratives, and her own extant work—to probe the unstable boundaries between fact and fiction, public recollection and personal memory. The book’s essays situate Green’s practice within key historical influences and periods, including lineages of Conceptual art, Minimalism, and institutional critique, examining Green’s ongoing contributions to artistic milieus and discourses while addressing her rigorous formal and conceptual approaches. Lavishly illustrated essays are punctuated by vibrant suites of installation views of The Equator Has Moved, Green’s long-term exhibition at Dia Beacon through October 12, 2026.
Edited by Jordan Carter and Svetlana Kitto, the book includes a foreword by Jessica Morgan and essays by Alexander Alberro, Erika Balsom, Carter, Diedrich Diederichsen, Ann Goldstein, James Meyer, and Blake Oetting.
Renée Green: The Equator Has Moved is made possible by major support from Every Page Foundation and Teiger Foundation.
Renée Green was born in Cleveland in 1959. In her multidisciplinary practice, she draws on Minimal and Conceptual traditions as well as myriad literary, philosophical, and historical sources to examine perception and memory with consideration of site and time. She graduated from Wesleyan University in Middletown, Connecticut, in 1981, and participated in the Whitney Museum of American Art’s Independent Study Program in New York in 1989–90. Green’s first solo exhibition opened at the Institute for Art and Urban Resources’ Clocktower Gallery in New York in 1990. Surveys of her work have been held at Musée cantonal des Beaux-Arts de Lausanne, Switzerland (2009–10); Yerba Buena Center for the Arts, San Francisco (2010); and KW Institute for Contemporary Art with daadgalerie, Berlin (2021–22). Extensive solo presentations include those at the Museum of Contemporary Art, Los Angeles (1993); Secession, Vienna (1999); and Carpenter Center for the Visual Arts, Cambridge, Massachusetts (2016–18). In 2008, a retrospective of her films took place at Jeu de Paume, Paris. Her work has been included in numerous biennials, including those at the Whitney Museum of American Art (1993 and 2022), Venice (1993), Gwangju (1997), and Berlin (2001), as well as in Documenta 11, Kassel (2002). A prolific writer, Green has written essays and fiction for magazines and journals such as Collapse, October, Texte zur Kunst, and Transition. She is the author of Other Planes of There: Selected Writings (2014) and the editor of Negotiations in the Contact Zone (2003). Green is a professor at the Art, Culture, and Technology program, School of Architecture and Planning, at Massachusetts Institute of Technology in Cambridge. She lives in Somerville, Massachusetts, and New York.
Alexander Alberro is the Virginia Bloedel Wright Professor ’51 in the department of art history at Barnard College and Columbia University, New York. He has written widely on modern and contemporary art and theory and is the author, most recently, of Interstices: Negotiations at Contemporary Art’s Boundaries (2025). Previous single-author volumes include Conceptual Art and the Politics of Publicity (2003) and Abstraction in Reverse: The Reconfigured Spectator in Mid-Twentieth-Century Latin American Art (2017). He has also edited many books, including Conceptual Art: A Critical Anthology (1999), Recording Conceptual Art: Early Interviews with Barry, Huebler, Kaltenbach, LeWitt, Morris, Oppenheim, Siegelaub, Smithson, and Weiner by Patricia Norvell (2001), Museum Highlights: The Writings of Andrea Fraser (2005), Art After Conceptual Art (2006), Institutional Critique: An Anthology of Artists’ Writings (2009), Working Conditions: The Writings of Hans Haacke (2018), and others.
James Meyer is the curator of modern art at the National Gallery of Art in Washington, D.C. He was previously the Winship Distinguished Research Associate Professor of art history at Emory University, Atlanta, as well as the deputy director and chief curator at Dia Art Foundation, New York. His publications include Minimalism: Art and Polemics in the Sixties (2001); Los Angeles to New York, Dwan Gallery 1959–71 (2016); The Art of Return: The Sixties and Contemporary Culture (2019); The Double: Identity and Difference in Art Since 1900 (2022); and several anthologies. His debut exhibition, What Happened to the Institutional Critique? (1993), at American Fine Arts, New York, included Renée Green’s Secret (1993), instigating a long-standing engagement with the artist’s practice. His contribution to Renée Green: The Equator Has Moved, “Questions of Travel,” is his latest study of the artist’s work.
