On View
Both Sides of the Line: Carmen Herrera & Leon Polk Smith (2/21–7/31/26)
Parasol Press: Breaking New Ground (1/24–7/31/26)
In Focus: Winslow Homer: Watching, Waiting (1/26/26–7/31/26)
Playing to Our Strengths: Highlights from the Permanent Collection (1/31–7/31/26)
Martin Puryear: In Print (1/31–7/31/26)
Little Boxes (2/7–7/31/26)
Welcome Home (3/3–7/31/26)
Models of American Sailing Ships (permanently on view)
Exhibitions on view
Permanently installed works of art
fountain restoration funded by Mary and Keith Kauppila, 1930.291
Playing to Our Strengths: Highlights from the Permanent Collection (1/31/26–7/31/26), the third iteration of this series, explores how American artists of the late 19th and early 20th centuries grappled with the inherently contradictory nature of modern life, laying bare the tensions between appearance and reality as well as the orderly and the chaotic. The exhibition unfolds across four distinct galleries, presenting an idealized vision of American life featuring Impressionist and American Renaissance paintings with Pictorialist photographs; Ashcan School and social realist photographs; detailed geometric Precisionist works, and works that expose the complex and frequently disordered lived realities of interwar New Yorkers navigating a rapidly modernizing and frequently alienating city.
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Playing to Our Strengths: Highlights from the Permanent Collection (1/31/26–7/31/26), the third iteration of this series, explores how American artists of the late 19th and early 20th centuries grappled with the inherently contradictory nature of modern life, laying bare the tensions between appearance and reality as well as the orderly and the chaotic. The exhibition unfolds across four distinct galleries, presenting an idealized vision of American life featuring Impressionist and American Renaissance paintings with Pictorialist photographs; Ashcan School and social realist photographs; detailed geometric Precisionist works, and works that expose the complex and frequently disordered lived realities of interwar New Yorkers navigating a rapidly modernizing and frequently alienating city.
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Welcome Home (3/3/26–7/31/26), asks What is home? How does it shape you? How do you shape it? Artists have long explored these difficult questions, capturing the idea of home and belonging in ways both tangible and abstract. Visitors are invited to ponder their own ideas of home in this exhibition curated by Phillips Academy students enrolled in Art 400 Visual Culture: Curating the Addison Collection.
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In Focus: Winslow Homer: Watching, Waiting (1/26/26–7/31/26) examines the Boston-born artist’s persistent engagement with and interrogation of the twinned themes of watching and waiting across his fifty-year career. Homer’s oeuvre reflects a lifelong preoccupation with observation and contemplation.
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Martin Puryear: In Print (1/31–07/31/26) examines the Boston-born artist’s persistent engagement with and interrogation of the twinned themes of watching and waiting across his fifty-year career. Homer’s oeuvre reflects a lifelong preoccupation with observation and contemplation.
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Little Boxes (2/7–07/31/26) features works from the Addison’s collection, and invites viewers into a nuanced exploration of the square and the rectangle, two essential geometric forms that have served as powerful tools in artistic expression. The exhibition explores how the simple “box” serves both as a practical strategy for pictorial composition and as a symbolic container for complex narratives.
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Parasol Press: Breaking New Ground (1/24/26-7/31/26) is the first exhibition to survey the publisher’s remarkable publications from 1970–2014, this exhibition showcases radical innovations that pushed the boundaries of printmaking and secured Parasol’s place as one of the most important print publishers of the twentieth century. Parasol’s published editions were among the decade’s most ambitious prints, demonstrating the complex and varied ways artists explored the materiality of printed surfaces while challenging the medium’s limits.
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Parasol Press: Breaking New Ground (1/24/26-7/31/26) is the first exhibition to survey the publisher’s remarkable publications from 1970–2014, this exhibition showcases radical innovations that pushed the boundaries of printmaking and secured Parasol’s place as one of the most important print publishers of the twentieth century. Parasol’s published editions were among the decade’s most ambitious prints, demonstrating the complex and varied ways artists explored the materiality of printed surfaces while challenging the medium’s limits.
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Parasol Press: Breaking New Ground (1/24/26-7/31/26) is the first exhibition to survey the publisher’s remarkable publications from 1970–2014, this exhibition showcases radical innovations that pushed the boundaries of printmaking and secured Parasol’s place as one of the most important print publishers of the twentieth century. Parasol’s published editions were among the decade’s most ambitious prints, demonstrating the complex and varied ways artists explored the materiality of printed surfaces while challenging the medium’s limits.
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© Leon Polk Smith Foundation
Both Sides of the Line: Carmen Herrera & Leon Polk Smith (2/21/26-7/31/26), organized by the University of Michigan Museum of Art, explores how artists Carmen Herrera and Leon Polk Smith redefined the visual language of modern art. Their perspectives intersect, diverge, and resonate, offering new ways to understand abstraction, identity, and the power of friendship.
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Both Sides of the Line: Carmen Herrera & Leon Polk Smith (2/21/26-7/31/26), organized by the University of Michigan Museum of Art, explores how artists Carmen Herrera and Leon Polk Smith redefined the visual language of modern art. Their perspectives intersect, diverge, and resonate, offering new ways to understand abstraction, identity, and the power of friendship.
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Both Sides of the Line: Carmen Herrera & Leon Polk Smith (2/21/26-7/31/26), organized by the University of Michigan Museum of Art, explores how artists Carmen Herrera and Leon Polk Smith redefined the visual language of modern art. Their perspectives intersect, diverge, and resonate, offering new ways to understand abstraction, identity, and the power of friendship.
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The Addison Gallery’s famed model ship collection, permanently installed in the building’s lower level, consisted originally of 24 works commissioned by the museum’s founder, Thomas Cochran, to document four centuries of American history.
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