Past

Exhibitions

Consult everything you need to know about current and upcoming exhibitions at the Guggenheim Museum Bilbao.

Exhibitions | Guggenheim Museum Bilbao

Helen Frankenthaler: Painting Without Rules

Opening Talk

 Helen Frankenthaler: Painting Without Rules 

Audio guide

Audio guide map

Fundación BBVA

Making Her Mark: 1950s

Riding the Tide: 1960s

Newfound Freedom: 1970s

Thresholds: 1980s

In Pursuit of Beauty: 1990s

Painting to Finish: 2000s

Among Friends

Invited to Make Sculpture

Helen Frankenthaler (b. 1928; d. 2011), best known for her invention of the soak-stain technique, played a pivotal role in the transition from Abstract Expressionism to Color Field painting. A tireless experimenter over the course of six decades, the artist produced a prolific stream of paintings on canvas and paper, in addition to sculptures, ceramics, tapestries, and print editions. Her innovative work, represented in the collections of major museums worldwide, continues to inspire contemporary artists.
Born in New York City, Frankenthaler studied studio art with Paul Feeley at Bennington College, in Vermont, before returning to Manhattan, where she gravitated to abstract art. By the early 1950s she had gained direct access to key figures in the New York School—icons of postwar American art—all of whom shared her unwavering commitment to experimentation, some of whom became part of her inner social circle.
Helen Frankenthaler: Painting Without Rules contextualizes the painter’s creative output through the lens of her artistic affinities, influences, and friendships. Comprising thirty of Frankenthaler’s poetic abstractions created between 1953 and 2002, the exhibition also features select paintings and sculptures by some of her contemporaries—Anthony Caro, Morris Louis, Robert Motherwell, Kenneth Noland, Jackson Pollock, Mark Rothko, and David Smith—highlighting the synergies between these artists.
Painting Without Rules is designed chronologically, decade to decade, beginning with the 1950s and ending in the 2000s. Each section, paced by a curatorial text, represents another chapter of Frankenthaler’s prolific career. The exhibition celebrates the legacy of a pioneering artist who never stopped exploring new ways to make abstract art.
The exhibition is organized by the Fondazione Palazzo Strozzi, Florence, and the Helen Frankenthaler Foundation, New York, in collaboration with the Guggenheim Museum Bilbao; and it is curated by Douglas Dreishpoon, Director of the Helen Frankenthaler Catalogue Raisonné.
Gallery: 105
 
Helen Frankenthaler 
Moveable Blue, 1973 
Acrylic on canvas 
177.8 x 617.8 cm 
ASOM Collection 
© 2025 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York / VEGAP 
Photo: © ASOM Collection

IN FOCUS Helen Frankenthaler

Chronology

In the Museum

Helen Frankenthaler (b. 1928; d. 2011), best known for her invention of the soak-stain technique, played a pivotal role in the transition from Abstract

Helen Frankenthaler: Painting Without Rules | Guggenheim Museum Bilbao

Vito Acconci / Sergio Prego: YOU

The Film &amp; Video exhibitions program at the Guggenheim Museum Bilbao is permanently committed to contemporary artistic practices associated with the moving image.
The point of departure for this exhibition is the collaboration and friendship that united Vito Acconci (b. 1940, New York; d. 2017) with Basque artist Sergio Prego (b. 1969, Donostia/ San Sebastián), whose artistic paths mingled in a key period of activities of the speculative design and architecture firm Acconci Studio. This exhibition proposes a subjective journey through Acconciʼs practice in video and performance using a display system designed by Prego, whose distinctive approach to sculpture deeply resonates with Acconci’s understanding of constructed spaces and the forces driving bodies in them. Their work share a specific attention to aesthetic phenomena emerging from the interplay of the senses with media and architecture, as though corporeality constantly tried to cope with shapes and norms before the lens. For both artists, artworks can operate as distinct manifestations of such tensions and paradoxes, whose impact directly affects the visitor’s physical self-awareness.
In the first part of the show, several videos by Prego play simultaneously while Acconci’s sound work Running Tape (1969) resonates in a corner of the gallery. The latter’s exercise —repeatedly counting while he ran until losing his breath, over and over—affects time, while Prego uses simple image editing hacks to present impossible positions and movements in space. Acconci’s voice can also be heard on the other side of the room, this time as the narrator of a documentary reflecting on his radical design practice. In the main space, visitors discover two large inflatable structures by Prego that operate as projection screens for select historical videos by Acconci. In his recorded performances, Acconci used the camera less as a means for self-portraiture than as a vehicle for provocation. We witness him directly pointing his finger or intimately whispering in Centers (1971) and Turn On (1974); and aggressively testing his body in Three Adaptation Studies (1970). In these works, Acconci desperately calls for attention as though he had presciently anticipated future uses of the camera in social media. More than five decades after their making, we cannot help feeling pointed at, often uncomfortably, by Acconci’s video works.
Gallery: 103 
Curator: Manuel Cirauqui
 
Vito Acconci 
Three Adaptation Studies, 1970 
Film Super 8mm transferido a video (fotograma) 
Courtesy Electronic Arts Intermix, New York

The Film &amp; Video exhibitions program at the Guggenheim Museum Bilbao is permanently committed to contemporary artistic practices associated with the

Vito Acconci / Sergio Prego: YOU | Guggenheim Museum Bilbao

in situ: Refik Anadol

Exhibition Partner:

1of1

Technology Partner:

Euskaltel (Anadol)

This exhibition marks the launch of in situ, a new series dedicated to site-specific installations that push the boundaries of contemporary practices. Bringing together artists whose work spans visual art, technology, music, and performance, in situ explores new ways of perceiving and inhabiting space.
in situ: Refik Anadol presents Living Architecture: Gehry, a groundbreaking audiovisual installation that reimagines Frank Gehry’s architectural legacy through artificial intelligence (AI) and generative art. Developed by Refik Anadol Studio, the custom-built AI model Large Architecture Model (LAM) is based on advanced technology and has been trained for months on a vast archive of open-access imagery, sketches, and blueprints to transform Gehry’s architectural language into ever-changing landscapes of dynamic form, color, and movement. Augmenting this visual spectacle is an immersive soundscape composed by Kerim Karaoglu, blending AI-generated audio with material recordings captured within the Museum itself.
Living Architecture: Gehry unfolds across six interconnected chapters, each representing a distinct stage in the evolution of data into architectural imagination:
<ul>
<li>Chapter I — Data Universe: A vast constellation of materials and data—archival photographs, plans, and structural documents—are compiled into a memory space.</li>
<li>Chapter II — Data Plotting: As the data is processed, complex patterns emerge through the arrangement of form, texture, and spatial composition.</li>
<li>Chapter III — Data Tunnel: The data transitions into immersive visual environments in the latent space, inviting viewers to engage with the evolving process of human-machine collaboration.</li>
<li>Chapter IV — Large Architecture Model: By transforming Gehry’s forms, the AI generates new architectural possibilities that push the boundaries of imagination and design.</li>
<li>Chapter V — Machine Hallucination: A moment of abstraction, where AI-generated structures break free from conventional spatial constraints, offering hallucinatory, dreamlike visions.</li>
<li>Chapter VI — Dreams: A return to the world of architecture, now envisioned through the limitless imagination of AI—where architecture transforms in real time, continuously generating new forms that emerge and evolve in the moment.</li>
</ul>
As the inaugural exhibition of in situ series, Living Architecture: Gehry exemplifies the way Anadol explores the future of site-specific, AI-driven art, where data becomes material and space becomes an evolving canvas of memory, form, and imagination.
Built upon ethically sourced data and powered by sustainable computing practices, the installation reflects a conscientious approach to digital creation, where innovation and responsibility go hand in hand.
Galleries: 204, 208 
Curator: Lekha Hileman Waitoller
 
Refik Anadol Studio 
Installation view of Living Architecture: Gehry at the Guggenheim Museum Bilbao 
© Refik Anadol, Bilbao 2025

The Process Behind Living Architecture: Gehry

This exhibition marks the launch of in situ, a new series dedicated to site-specific installations that push the boundaries of contemporary practices.

in situ: Refik Anadol | Guggenheim Museum Bilbao

Masterpieces on Paper from Budapest

Masterpieces on paper from Budapest 

Studies of Heads, ca. 1504–05

View of Sarmingstein on the Danube, 1511

Venus Disarming Cupid, ca. 1527–30

Dutch Farmhouse in Light and Shadow, 1635–36

Study Sheet, Two Female Models and Drapery, ca. 1717

View of Budapest, 1881

The Parsonage Garden at Nuenen in Winter, 1884

Two Women Embracing, 1915

Composition, 1922

13 traces, 2016

This exhibition is the result of a collaboration between the Guggenheim Museum Bilbao and The Museum of Fine Arts – Hungarian National Gallery, Budapest, an esteemed institution that showcases treasures of international art spanning from Antiquity to the 21st century, and Hungarian art from the Middle Ages until today. Among the various collections that comprise its holdings, the Collection of Prints and Drawings stands out in both time range and quantity, gathering approximately 9,000 drawings and 100,000 prints by European artists.
An extensive and varied array of works, the show provides a comprehensive overview of art on paper from the 1400s to the present day, including such great artists as Albrecht Dürer, Leonardo da Vinci, Raphael, Rembrandt, Francisco de Goya, Miklós Barabás, Henri de Toulouse-Lautrec, Pablo Picasso, Egon Schiele, Victor Vasarely, Vera Molnar, Judit Reigl, Dóra Maurer, and even Georg Baselitz, Katharina Grosse, and Gerhard Richter. The nigh on 150 masterpieces shed light on the centuries-old traditions of the genres; on how they are always open to renewal; on their various formal solutions; on their essential features and their characteristic aesthetic effects.
The presentation is structured around twelve thematic sections that feature the distinctive characteristics of each era, while also highlighting connections and relevant issues in the realm of drawing and printmaking. At the first level, it sets before the viewer the technical diversity of drawings and prints, while on a deeper level, it shows their various functions. All this allows visitors to eventually understand the significance of drawing and printmaking within the history of art and see how, in the midst of changes in styles and trends over the centuries, it is drawings and prints that remained truest to themselves.
The exhibition also gives an insight into the rich, eventful history of the Museum of Fine Art’s Collection of Prints and Drawings, the most valuable collection of works on paper in Hungary. A number of archival elements has been gathered to narrate its origins within the art collection of a highly important Hungarian noble family, the Esterházys, and the achievements reached thanks to the indefatigable work of many dedicated museum directors, keepers, and curators.
Galleries: 205, 206, 207, 209 
Curators: Kinga Bódi and Marta Blàvia
 
Peter Paul Rubens (1577–1640) 
Profile Portrait of the Artist’s Son, Albert Rubens, ca. 1618–19 
Black and red chalk, pen, brown ink, brown wash on paper, 246 × 202 mm 
Museum of Fine Arts, Budapest; inv. no. 1745 
Purchased from the Esterházy Collection, 1871 
© 2025 Museum of Fine Arts, Budapest

Spreading images and ideas

Engraving and etching

Lithography

Woodcut

We’d like to invite you to enjoy a virtual tour of the exhibition Masterpieces on paper from Budapest. This tour includes all the works and didactic texts in the show.

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VIRTUAL TOUR

This exhibition is the result of a collaboration between the Guggenheim Museum Bilbao and The Museum of Fine Arts – Hungarian National Gallery, Budapest,

Masterpieces on Paper from Budapest | Guggenheim Museum Bilbao

Tarsila do Amaral

Paris/São Paulo: Passports for Modernism

A “Young Caipira Dressed by Poiret”

The Invention of the Brazilian Landscape

Primitivism and Identity(ies)

Cannibal Brazil

Working Men and Women

New Landscapes

A central figure of Brazilian modernism, Tarsila do Amaral (also known as Tarsila) created an original, evocative body of work, drawing on indigenous and popular imagery and on modernizing forces of a rapidly-transforming country.
In the 1920s, moving between São Paulo and Paris, Tarsila ferried between the avant-gardes of these two cultural capitals. Having constructed a “Brazilian” iconographic world, put to the test by the Cubism and Primitivism so in vogue in the French capital at the time, her painting was the root of the Pau-Brasil and Anthropophagic movements, whose search for an “authentic,” multicultural, and multiracial Brazil aimed to refound the country’s relationship with the European “centers” of colonization.
The activist dimension of Tarsila’s paintings from the 1930s and their ability to accompany the profound transformations of her social and urban environment until the 1960s confirm the strength of an oeuvre attuned to her time, always willing to reinvent itself, despite the unstable conditions of the different times and contexts that an emancipated, independent woman artist had to face.
With her invitation to delve into a Brazilian modernity that she contributed to forging even more than she painted it, Tarsila reveals in her production all the complexity of this concept always subject to debate, which raises identity and societal questions of great importance even today, both in Brazil and Europe.
This exhibition is organized by the Guggenheim Museum Bilbao and le GrandPalaisRmn
Galleries: 201, 202, 203 
Curators: Cecilia Braschi and Geaninne Gutiérrez-Guimarães 
Venues: Musée du Luxembourg, Paris; Guggenheim Museum Bilbao
 
Tarsila do Amaral 
Postcard (Cartão postal), 1929 
Oil on canvas, 127.5 x 142.5 cm 
Private collection, Rio de Janeiro 
© Tarsila do Amaral Licenciamento e Empreendimentos S.A. 
Photo: Jaime Acioli

Video about The Exhibition

We’d like to invite you to enjoy a virtual tour of the exhibition Tarsila do Amaral: Painting Modern Brazil. This tour includes all the works and didactic texts in the show.

Start

Tarsila do Amaral: Painting Modern Brazil

A central figure of Brazilian modernism, Tarsila do Amaral (also known as Tarsila) created an original, evocative body of work, drawing on indigenous and

Tarsila do Amaral: Painting Modern Brazil | Guggenheim Museum Bilbao

3rd floor

This presentation of the Guggenheim Museum Bilbao Collection includes a selection of works that mark crucial moments in art history following World War II. In an ambitious gesture to underscore the resonance between art and architecture, this installation, which features some of the Collection’s most outstanding pieces, also showcases the original architecture of the building. The installation celebrates of the diaphanous and luminous spaces of the third floor of the Museum.
This exhibition is inspired both by the Museum’s holdings of singular works by artists and by historical artistic movements that are well represented in the Collection. The presentation thus highlights figures who belonged to the avant-garde of their time and whose contributions chartered new courses in post-war art history. Each gallery offers the chance to view the production of a single artist or a selection of artists who explore shared concerns from different perspectives.
Some spaces on this floor show site-specific installations or single pieces of an experiential character, like those dedicated to Sol LeWitt and El Anatsui. The work by the latter, Rising Sea, is a contemporary sculpture of great importance by the African artist, and is the latest acquisition to join the Collection. Other galleries house thematic selections on the development of abstract art after World War II, or on approaches between abstraction and spirituality, or deal with later artistic languages that developed between 1960 and 1980, such as Pop Art and the presence of popular culture in contemporary art. The displays furthermore include historic documentation on these artistic trends and the artists who contributed to them. Cette
Galleries: third floor 
Curator: Lekha Hileman Waitoller, Marta Blàvia

If Walls Could Talk…

El Anatsui

Jenny Holzer

Jeff Koons

Sol Lewitt

Works from the Guggenheim Museum Bilbao Collection

This presentation of the Guggenheim Museum Bilbao Collection includes a selection of works that mark crucial moments in art history following World War

Works from the Guggenheim Museum Bilbao Collection | Guggenheim Museum Bilbao

This exhibition presents a sample of the work created by more than one hundred children between the ages of 6 and 12 over the course of the  2024–25 school year as part of the Guggenheim Bilbao Museum’s education program Learning through Art. This initiative takes artists into the school classroom, where they work directly with teachers to incorporate art into school learning.
Through artistic exploration and discussions about art, students have the opportunity to approach the contents of the Primary curriculum from a creative and personal perspective. The activities are designed to connect art with different subjects, such as Science, Language or Mathematics, as a way to investigate and understand the world the surrounds children.
During this course, the six participating classes explored how the calendar influences the way nature looks, the effects of human action on the environment, and how to blend in with their natural environment. They also learned about artistic creation in the service of activism and its possible impact on society, as well as the work of local artists in their area. Through art and self-exploration, they also reflected on identity, both personal and collective.
In the process, they used a wide variety of techniques and disciplines, such as painting, sculpture, photography and performance, applying them in educational projects that promoted free expression and highlighted the importance of creativity in education.

Learning through art 2025

This exhibition presents a sample of the work created by more than one hundred children between the ages of 6 and 12 over the course of the  2024–25

Learning through art 2025 | Guggenheim Museum Bilbao

Occident

The Guggenheim Museum Bilbao proudly presents the first survey exhibition in Spain of work by renowned American artist Barbara Kruger. For over forty years, Kruger has captivated audiences by blending striking images from mass media with bold, thought-provoking phrases that challenge the viewer to confront the power dynamics shaping identity, desire, and consumerism. Her iconic works speak directly to us, encouraging reflection on how we relate to one another and the world around us.
This exhibition showcases Kruger’s ability to transform architectural spaces into immersive, text-driven experiences. Visitors will step into powerful installations where language takes center stage, enveloping entire environments with vinyl, soundscapes, and multichannel video works. Many of these pieces revisit and reimagine Kruger's early works, brought to life anew through digitization, large-scale LEDs, and the integration of sound.
Organized in close collaboration with the artist, this exhibition invites visitors to engage with Kruger’s provocative explorations of language, media, and meaning in the digital age.
Galleries: 201, 202, 203, 205, 206, 207, 209 
Curator: Lekha Hileman Waitoller
 
Barbara Kruger 
Untitled (FOREVER), 2017 
Print on vinyl wallpaper 
Dimensions variable 
Installation view, FOREVER, Sprüth Magers, Berlin, September 16, 2017–January 20, 2018 
Courtesy the artist and Sprüth Magers 
Photo: Timo Ohler

Barbara Kruger

The Guggenheim Museum Bilbao proudly presents the first survey exhibition in Spain of work by renowned American artist Barbara Kruger. For over forty

Barbara Kruger | Guggenheim Museum Bilbao

Sky Hopinka came to filmmaking through his interest in Indigenous languages and storytelling techniques. A member of the Ho-Chunk nation and a descendent of the Pechanga Band of Luiseño Mission Indians, Hopinka creates intricately constructed videos that blend personal narratives with documentation of contemporary Native life and abstract imagery—all reflecting on the power and limits of intercultural communication.
A meditation on family, tradition, healing, and landscape, Hopinka’s Fainting Spells (2018) explores a mythical narrative about Xąwįska, or Indian pipe plant, used medicinally by Ho-Chunk people to revive those who have fainted. In the film, texts about the plant and its role in Ho-Chunk traditions scroll over abstracted images of gatherings, familiar terrains, and natural phenomena, many evocative of historical avant-garde cinematic aesthetics. Executed mostly in Washington and Colorado, the film exemplifies Hopinka’s ongoing efforts to create what he calls “ethnopoetic” art focused on a creative engagement with living Indigenous cultures.
For the artist, Fainting Spells is an examination of “what and how myth teaches us; how it is a presence in present-day native communities; and the way it influences how we navigate the world.” Hopinka often brings personal insights into his work, embodied here by the recordings of his father’s voice audible in the film as part of a lush instrumental soundscape.
Gallery: 103 
Curator: Geaninne Gutiérrez-Guimarães
 
Sky Hopinka 
Fainting Spells, 2018 
Three-channel color video, with sound, 9 min., 45 sec. 
A.P. 1/2, edition of 3 
Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Photography Council, 2021 
© Sky Hopinka

Sky Hopinka. Fainting Spells

Sky Hopinka came to filmmaking through his interest in Indigenous languages and storytelling techniques. A member of the Ho-Chunk nation and a descendent

Sky Hopinka. Fainting Spells | Guggenheim Museum Bilbao

The work from Maria Helena Vieira da Silva (b. 1908, Lisbon; d. 1992, Paris) has been seen to incorporate a variety of styles and influences, ranging from the decorative geometry of the Hispano-Arabic Azulejo tiles to the chequered tablecloths found in Pierre Bonnard’s paintings. As a result, accounts of Vieira da Silva’s work have tended to emphasize her debt to a range of existing movements and styles, rather than highlight the development of her independent artistic vocabulary. Rarely, the literature has drawn attention to the relationship between abstraction and figuration in her work, as seen in the architectural spaces she creates, which blur the distinction between real and imaginary cityscapes. This is one of a series of aspects that this exhibition seeks to highlight.
By surveying the artist’s output from the 1930s to the late 1980s, to consider Vieira da Silva’s engagement with urban architectural landscapes and the role of memory and play in her work, this exhibition will look beyond the loose formal references to Portuguese visual culture and avant-garde movements such as Cubism and Futurism. Integral to this assessment is a reconsideration of Vieira da Silva’s work as independent from the gestural aesthetics of Art Informel (to which she has frequently been aligned) and an acknowledgment of her experience of Paris, understood as a distinctly transnational hub in the postwar World War II era. Likewise, attention will be drawn to the networks Vieira da Silva established during her time in Rio de Janeiro, where she escaped to with her husband Árpád Szenès at the outbreak of World War II. The exhibition will be grounded in a selection of key paintings showing Vieira’s repeated and continuously evolving deployment of abstract forms and optical illusions. These will be complemented by drawings, engravings, illustrated books and tapestries to offer a comprehensive overview of the artist’s interdisciplinary practice.
Gallery: 105 
Curator: Flavia Frigeri 
Venues: Peggy Guggenheim Collection, Venecia; Museo Guggenheim Bilbao
 
Maria Helena Vieira da Silva (1908 – 1992) 
Figure de ballet, 1948 
Oil and graphite on canvas, 27 x 46 cm 
Courtesy Galerie Jeanne Bucher Jaeger, Paris - Lisbon 
Inv. CR587

Maria Helena Vieira da Silva. Anatomy of Space

The work from Maria Helena Vieira da Silva (b. 1908, Lisbon; d. 1992, Paris) has been seen to incorporate a variety of styles and influences, ranging from

Maria Helena Vieira da Silva. Anatomy of Space | Guggenheim Museum Bilbao

Mark Leckey (b. Birkenhead, United Kingdom, 1964) is a British contemporary artist who lives and works in London. Since he came to prominence in the late 1990s, Leckey’s influential practice has addressed the relationship between popular culture and technology as well as exploring the subjects of youth, class and nostalgia. His found object art and video pieces draw on elements of pop culture. In particular, he is known for Fiorucci Made Me Hardcore (1999) and UniAddDumThs; (2015-ongoing). He won the 2008 Turner Prize for his exhibition Industrial Light and Magic (2008).
Over the past six years Leckey has hosted a program on NTS Radio presenting experimental music by emerging and established artists. His presentation at the Guggenheim Bilbao will draw on the multiplicity of sources that go into his works such as sound, sculpture, and performance.
Galleries: 204, 208 
Curator: Lekha Hileman Waitoller
 
Mark Leckey 
Installation view, O’ Magic Power of Bleakness, Tate Britain, London, 24 September - 5 January 2020 
Photograph by Mark Blower, courtesy of the artist, Cabinet Gallery London, and Tate.

in situ: Mark Leckey

Mark Leckey (b. Birkenhead, United Kingdom, 1964) is a British contemporary artist who lives and works in London. Since he came to prominence in the late

in situ: Mark Leckey | Guggenheim Museum Bilbao

Iberdrola

Rooted in the Guggenheim Museum Bilbao’s Environmental Sustainability Strategic Framework, the exhibition Arts of the Earth offers a reinterpretation of the environmentally inspired art of the past decades. In addition to providing a new diverse multidisciplinary map of artistic forms, this exhibition also seeks to offer an inventory of tools, possibilities, and futures. Arts of the Earth adopts our current concern for the health of our planet, and specifically for the survival of soil as moldable, living matrix, as the cornerstone of a journey through artistic expressions crossing all geographies. It is an itinerary that connects artifacts made of earth, wood, leaves, roots, and plants—ancestral mediums that have once again risen to importance today—with the earthly interventions of recent decades that have come to be known as Land Art or Earthworks, including living anti-monuments erected in remote places, at times ephemeral, the marks of which we interpret today as prophecies of the Anthropocene.
Over these past generations, artists from starkly different cultures have asked themselves how to work the earth when it most needs care and restoration; how to offer gratitude and pay tribute; how to learn from that which it offers us at a time when it appears to be being stripped of its biological, mineral, organic and chemical richness. The constructive potential of soil and the substances that compose it takes us far beyond the classic formulations of sculpture, architecture, or landscape architecture. Over the past years, many artists have experimented with the dynamics of this substrate and have combined processes of composition and composting, drawing lines and revealing the common roots of culture and agriculture; form, formation, and terraforming. In doing so, Arts of the Earth encompasses historic works from 1970 to today and includes formats such as sculpture, installations, drawing, and performance, in addition to an extensive selection of archive materials. Spanning practices that sometimes call for multiple forms of collaborative knowledge, it looks at the intersection of agronomy, botany, geology, chemistry, and biology with the arts, architecture, and design.
Galleries: 201, 202, 203, 205, 206, 207, 209 
Curator: Manuel Cirauqui
 
Giuseppe Penone 
Nail and Laurel Leaves (Unghia e foglie di alloro), 1989 
Glass and laurel leaves 
Courtesy the artist and Marian Goodman Gallery 
Photo: Alex Yudzon

Arts of the Earth

Rooted in the Guggenheim Museum Bilbao’s Environmental Sustainability Strategic Framework, the exhibition Arts of the Earth offers a reinterpretation of

Arts of the Earth | Guggenheim Museum Bilbao

15€ Adults - 7.5€ Senior - 7.5€ Students

TopARTE, an initiative of the Guggenheim Museum Bilbao, remains firmly committed to local cultural actors and organizations. The result of this fruitful collaboration is a multidisciplinary program offering a wide range of content and formats, reaching all kinds of audiences.
As part of this initiative, the Museum hosts activities from a variety of fields, including architecture, film, dance, design, gastronomy, music, performance art, and theater.

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Exhibitions

Helen Frankenthaler: Painting Without Rules

04.11.2025 - 09.28.2025

Vito Acconci / Sergio Prego: YOU

04.03.2025 - 09.07.2025

in situ: Refik Anadol

03.07.2025 - 10.19.2025

Masterpieces on Paper from Budapest

02.28.2025 - 06.01.2025

Tarsila do Amaral: Painting Modern Brazil

02.21.2025 - 06.01.2025

Works from the Guggenheim Museum Bilbao Collection

01.24.2023 - 12.31.2025

Exhibitions

upcoming

Learning through art 2025

Barbara Kruger

Sky Hopinka. Fainting Spells

Maria Helena Vieira da Silva. Anatomy of Space

in situ: Mark Leckey

Arts of the Earth

Exhibitionspast

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