Past

Exhibitions

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

Exhibitions | Guggenheim Museum Bilbao

Past | Guggenheim Museum Bilbao

June Crespo. Vascular

Introductory artist conversation

Audio guide

June Crespo

The sculptural practice of June Crespo (b. Pamplona, 1982) is purposefully situated at the intersection of multiple pathways and contemporary lines of research. It engages in a transformative dialogue with the concepts that have shaped Basque art in recent decades—namely, “moving pairs” such as abstraction and gesture, the tragic and the opaque, lightness and strangeness. It also takes on certain pressing issues that have only recently been included within the broader debates, in particular with respect to feminist sensibilities and awareness of the devastation caused by modern lifestyles on the natural environment, now entirely subject to the cycles of industrial and post-industrial production and reproduction, amid the pressures of the Anthropocene.
Crespo’s practice has long had a living, active materiality, right up to the present day, and this character forms the very basis of Vascular, the exhibition presented at the Guggenheim Museum Bilbao. The idea is to offer a new perspective on Crespo’s practice while inviting her, at the same time, to explore an unprecedented scale in her work. Crespo’s sculptures bring together and combine a wide range of diverse parts—molds of plants, clothes or found textiles, construction elements, concrete casts, magazines. By radically assembling them or changing their scale, they emphasize the stark contrast between the lived material and the structural elements that close off and channel our existence, be they ducts, metal sheets, molds, or formwork. Stems are then connected to them, or bits of textile or paper get trapped in their joints, while traces of technical operations, erosions, and accidents can be read in them as well. Bound by lashing straps, or simply resting upon each other, these elements appear to ceaselessly interrogate one another.
Along with a selection of pieces from the last seven years, Vascular features new and extraordinary work that combines recurring forms, gestures, and questions that are present in many of Crespo’s previous series. Examples of this include the sculptural or even architectural use of photographs, which become large-scale floor prints, or the presentation of structures used in industrial production or in building, such as work tables or raising platforms which serve to hold up the proliferation of vegetal forms, tubes, and cylinders in the gallery space. Vascular seeks to point out the internal communication within each of Crespo’s pieces and suggest transmissions between all the works included in the exhibition, which act like communicating vessels and capillary networks, both in terms of their material relations and the scarifications and marks that the artist incorporates on the surface of the sculpture.
Gallery: 105 
Curator: Manuel Cirauqui
 
June Crespo 
Vascular (5), 2024 
Curved checker steel plate and rugs 
150 × 300 × 293 cm 
Courtesy the artist 
© June Crespo, Bilbao, 2024 
Image © FMGB Guggenheim Bilbao Museoa. Photo Erika Barahona Ede

Biography

Video

Video about The Exhibition

We’d like to invite you to enjoy a virtual tour of the exhibition JUNE CRESPO. VASCULAR. This tour includes all the works and didactic texts in the show.

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VIRTUAL TOUR

The sculptural practice of June Crespo (b. Pamplona, 1982) is purposefully situated at the intersection of multiple pathways and contemporary lines of

June Crespo. Vascular | Guggenheim Museum Bilbao

Online Art Course: Film & Video, moving image as an Artistic Medium

Metahaven: Chaos Theory

Audio guide: Metahaven

Opening Talk: Metahaven

Founded by Dutch artists Vinca Kruk and Daniel van der Velden in 2007, Metahaven is a renowned artist collective whose work blurs the boundaries of art, filmmaking and design. Encompassing a broad variety of mediums including moving images, exhibition design, graphics, digital interfaces, and theory, Metahaven is regarded today as a visionary agent in the advancement of post-digital, critical culture.
Metahaven's recent film piece, Chaos Theory (2021), is an enthralling audiovisual poem structured around the dialogues and wanderings of two characters: X (Valentina Di Mondo) and Y/Z (Georgina Dávid), as they reflectively confront the contemporary world and its puzzling flows of interconnected phenomena. Avoiding the use of conventional narrative language and the binaries of information technology, Chaos Theory operates as a non-linear tale challenging the divisions between fiction and fact, shared realities and dreams. Shot on location in the outskirts of Amsterdam, the movie's landscape appears in contrast with its dreamlike scenes and the open-ended poetics of its dialogues. Likewise, the newly-conceived installation of this work spatially challenges the limits of the film screen by means of a large textile work that expands in the Museum's main gallery. This textile echoes some of the graphic patterns and objects that appear in the story, referencing data points and graphic vectors blended into a thick texture and color coding that is reminiscent of common upholstery motives in public transit.
Metahaven’s video installation is paired with a multiplicity of embroidered objects, understood as film stills and documents from the artists' expanded visual research and on view in the anteroom. Thus the presentation of Chaos Theory is accompanied by a display of selected pieces from Metahaven's Arrows (2020) and Blossoms (2021) series, featuring an array of complex digital embroideries on found jumpsuit jackets, commercial plastic bags, and small tapestries that remind of fabric samples or doormats, alongside the textile and video triptych Living Together in Stories (2022). Juxtaposing oneiric landscapes, abstract graphics, and symbols from the organic world, the artists invite us to challenge our certainties and envision a future defined by empathy, fluid identity, and interdependence.
Galleries: 103 
Curator: Manuel Cirauqui
 
Metahaven 
Chaos Theory (2021) 
Single channel film, 25 min. (film still) 
Courtesy the artists

Founded by Dutch artists Vinca Kruk and Daniel van der Velden in 2007, Metahaven is a renowned artist collective whose work blurs the boundaries of art,

Metahaven: Chaos Theory | Guggenheim Museum Bilbao

Giovanni Anselmo: Beyond the Horizon

Guided visit

Direction (Direzione), 1967–68

Torsion (Torsione), 1968

Untitled (The Wet Cotton Is Thrown onto the Glass and It  Stays There), 1968

Interference in Universal Gravitation, 1969–2016

Invisible (Invisibile), 1971

Panorama with a Hand Pointing to It , 1982–84

Toward the Ultramarine (Verso oltremare), 1984

Untitled, 1984

Giovanni Anselmo (b. 1934, Borgofranco d’Ivrea; d. 2023, Turin) began his career as an artist in Italy in the 1960s. The revelatory experience he lived on the summit of Stromboli volcano one morning in 1965 radically influenced his work. When the sun’s early rays just peeking over the horizon cast their shadows on the immensity of the sky, the artist became aware that he was an integral part of an infinite, ever changing universe. Since then, Anselmo focused his interest on the order and cyclical course of natural phenomena, so that the energy, space, time, orientation, magnetic fields, or gravitational forces became recurring themes in his production. Using existing materials, Anselmo created pieces that actively and perceptibly present both the latent energy surrounding us here and now and the incommensurate nature of the dynamics governing the cosmos. His works are located at a fascinating frontier between the visible and the invisible.
This exhibition is a comprehensive analysis of the practice of an artist who is considered a key referent in Arte Povera yet managed to develop his career avoiding any label or classification. Envisioned as a journey, a continuous flow, this show connects the most emblematic works in Anselmo’s career with others created specifically for this occasion. Anselmo was deeply involved in the organization of this exhibition until just a few days before he passed away last December. Therefore, now more than ever, the goal of Giovanni Anselmo. Beyond the Horizon is to faithfully convey the depth of his vitality, the greatness of his legacy, and the meaning of his contribution.
Galleries: 205, 206, 207, 209 
Curator: Gloria Moure 
Exhibition organized by the Guggenheim Museum Bilbao
 
Giovanni Anselmo 
Untitled (The Wet Cotton Is Thrown onto the Glass and It Stays There) 
[(Senza titolo (Il cotone bagnato viene buttato sul vetro e ci resta)], 1968 
Glass, cotton, zinc bucket, sack, and water 
210 x 210 x 50 cm 
The Sonnabend Collection and Antonio Homem, loan to 
Fundacão de Serralves – Museu de Arte Contemporânea, Porto. 
© Giovanni Anselmo 
Photo © Filipe Braga

Didaktika

Giovanni Anselmo

Making Visible the Invisible

In the Museum

We’d like to invite you to enjoy a virtual tour of the exhibition GIOVANNI ANSELMO: BEYOND THE HORIZON. This tour includes all the works and didactic texts in the show.

Giovanni Anselmo (b. 1934, Borgofranco d’Ivrea; d. 2023, Turin) began his career as an artist in Italy in the 1960s. The revelatory experience he lived on

Giovanni Anselmo: Beyond the Horizon | Guggenheim Museum Bilbao

Gego. Measuring Infinity

Introductory Artist Conversation

Gego: Measuring Infinity

Occident

Early Works (1951–55)

Parallel Lines (1957–67)

Tamarind Lithography Workshop and reticular studies (1963–70)

Chorros, Troncos, Esferas and Other Reticular Typologies (1969-88)

Textiles (1956–88)

Dibujos sin papel (ca. 1976–88)

Last Works: Tejeduras, Bichos and Bichitos (1987–91)

The Guggenheim Museum Bilbao presents Gego. Measuring Infinity, a major retrospective offering a fully integrated view of the work by German-Venezuelan artist Gertrud Goldschmidt (b. 1912, Hamburg; d. 1994, Caracas), also known as Gego, and her distinctive approach to the language of abstraction. Arranged chronologically and thematically, the exhibition examines the artist’s formal and conceptual contributions through her organic forms, linear structures, and modular abstractions.
Nearly 150 works from the early 1950s through the early 1990s are featured including sculptures, drawings, prints, textiles, and artist’s books, alongside photographic images of installations and public artworks, sketches, publications, and letters. Situating Gego’s practice in the artistic contexts of Latin America that transpired over the course of her lengthy career, the survey also considers her intersections with—and departures from—key transnational art movements such as Geometric Abstraction and Kinetic Art.
Born into a German Jewish family, Gego first trained as an architect and engineer at the Technische Hochschule Stuttgart (now Universität Stuttgart). Fleeing Nazi persecution in 1939, she immigrated to Venezuela, where she settled permanently, and in 1953 embarked on an artistic career that would span more than four decades. In two- and three-dimensional works across a variety of mediums, the artist explored the relationship between line, space, and volume. Her engagements in the related fields of architecture, design, and education complemented those investigations.
Gego is one of the most significant artists to emerge from Latin America during the second half of the 20th century, and her career traced a markedly individual artistic path, which defied categorization. She put forth radical ideas through her investigations of structural systems: transparency, tension, fragility, spatial relations, and the optical effects of motion are all methodically addressed in her singular body of work. This historical retrospective demonstrates the breadth of Gego’s multidisciplinary practice, advancing a deeper understanding and appreciation of the artist and her oeuvre in a global context.
The museum is thankful to Fundación Gego and its directors, Tomás Gunz and Barbara Gunz, as well as the foundation’s staff and Board, for their tremendous support and collaboration towards this exhibition.
Galleries: 105 
Curator: Geaninne Gutiérrez-Guimarães 
Venues: Museu de Arte de São Paulo Assis Chateaubriand–MASP; Museo Jumex, Mexico City; Solomon R. Guggenheim Museum, New York; Guggenheim Museum Bilbao 
The exhibition is organized by the Guggenheim Museum Bilbao in collaboration with the Solomon R. Guggenheim Museum, New York; Museo Jumex, Mexico City; and Museu de Arte de São Paulo Assis Chateaubriand–MASP. The exhibition was developed by Julieta González, Artistic Director, Instituto Inhotim, Brumadinho, Brazil; Geaninne Gutiérrez-Guimarães, Associate Curator, Guggenheim Museum Bilbao, and Solomon R. Guggenheim Museum and Foundation, New York; and Pablo León de la Barra, Curator at Large, Latin America, Solomon R. Guggenheim Museum and Foundation, New York; in collaboration with Tanya Barson, former Chief Curator, Museu d’Art Contemporani de Barcelona, and Michael Wellen, Senior Curator, International Art, Tate Modern, London.
Gego installing Reticulárea at the Museo de Bellas Artes, Caracas, 1969 
Photo: Juan Santana 
© Fundación Gego

In Focus Gego

Gego’s Biography

Geglossary

Documentary

We’d like to invite you to enjoy a virtual tour of the exhibition GEGO. MEASURING INFINITY. This tour includes all the works and didactic texts in the show.

The Guggenheim Museum Bilbao presents Gego. Measuring Infinity, a major retrospective offering a fully integrated view of the work by German-Venezuelan

Gego. Measuring Infinity | Guggenheim Museum Bilbao

Marine Hugonnier

Conversations with Artists

Marine Hugonnier: Field Reports

The Film &amp; Video exhibitions program at the Guggenheim Museum Bilbao is permanently committed to contemporary artistic practices associated with the moving image.
Through her film-based works, Marine Hugonnier (b. 1969, Paris) explores the way in which the conventions of representation collude with ideologies, desires, and discourses. Her practice is an inquiry into the politics of vision, and seeks to uncover the underlying mechanisms of power as it is exerted in the modern capitalist era, where economic acceleration and image reproduction have evolved in synch while preserving colonialist and patriarchal biases at their core.
Originally trained as an anthropologist, Hugonnier uses documentary and fiction strategies that intermingle with one another. Central to the exhibition is Meadow Report (2021), a depiction of the famed Giverny Gardens where the French impressionist Claude Monet created an artificial environment and painted his celebrated Water Lilies in the last decades of his life, while progressively losing his sight to cataracts. She installed her camera in the middle of the lake at dusk, searching an other-than-human vantage point, to observe the garden, the edges of water-lily leaves, and Monet’s iconic green bridge. At a decisive point, the lens of the camera is intentionally removed to place the analogue film directly in contact with the environment. The resulting abstract image captures the shimmering light and movements of all beings during this quiet summer night. The title of the work invites us to consider this operation under the light of the current environmental crisis, drawing a reference to one of the earliest reports on climate change known as the „Meadows Report“ (1972), which predicted the disastrous outcomes of our continuous and unrestrained exploitation of the Earth’s resources.
In the anteroom, the large-scale photograph Towards Tomorrow (2001) shows an image taken in Alaska, on the US side of the Bering Strait, as the artist gazed across the International Date Line into Siberia, Russia. Despite the forty-mile distance between these two coasts, Siberia’s time zone is set 24 hours ahead of Alaska. While every photograph indexes an image of the past, this one also encapsulates a view of the future. Opposite to it, Desire Is Not Much, but Nonetheless… (2015) presents a study of an ancient Roman sculpture, the Sleeping Hermaphroditus, now housed at the Louvre Museum in Paris. In Greek mythology, Hermaphroditus is the child of the gods Aphrodite and Hermes. Their body is revealed by the camera as it circumnavigates the curves of the marble figure, whose feet and lips have been digitally animated. Short color sequences interrupt the otherwise continuous black-and-white film loop. Undermining once again the alleged „naturalism“ of the film record, Hugonnier’s piece attempts to envisage what could constitute desire in a body that transcends conventional binaries, and invites viewers to critically consider the possibility of a non-gendered gaze.
Marine Hugonnier was born in Paris and she is currently based in London. Her work has been has been exhibited internationally, including solo presentations at Jeu de Paume in Paris, Villa Romana in Florence, Kunstverein Brauschweig, Die Tankstelle Berlin, Konsthall Malmö, and at the 52nd Venice Biennale of Art. Hugonnier also holds a PhD and is Professor for Moving Image and Fictional Form at the Karlsruhe University of Arts and Design, Germany.
Gallery: 103 
Curator: Manuel Cirauqui
Marine Hugonnier 
Meadow Report, 2021 
Film 35mm, color, sonido 
Courtesy the artist 
© Marine Hugonnier

Marine Hugonnier. Field Reports

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

Marine Hugonnier. Field Reports | Guggenheim Museum Bilbao

Picasso sculptor. Matter and Body 

Picasso Sculptor. Matter and Body

Woman with Vase

Drawings in Space

The Ladies of Boisgeloup

The Laboratory of Sculpture

Picasso’s Hand

Picasso’s “Found Art”

Picasso and the War

Pregnant Woman

Little Girl Jumping Rope

Final Period: The Pictorial Sculpture

Pablo Picasso (b. 1881; d. 1973) worked with sculpture from practically the beginning of his long career. For the Málaga-born artist, it was not a lesser medium but a form of expression on a par with painting, drawing, or engraving. In his practice, there were no major and minor arts but different languages and materials with which to transmit various aspects of his creation. The body, the ultimate objective of Picasso’s representation and his main instrument throughout his career, is the cornerstone of this exhibition, one of the events held to commemorate the 50th anniversary of his death.
This selection of sculptures ranges across the many styles used by Picasso to represent the forms of the human body, deconstructing it in order to recompose it. To this end, he made use indistinctly of all the means and objects within his reach, integrating them in a whole that had never before been seen. Sculptor Julio González saw Picasso’s sculptural gaze as lying at the genesis of his entire oeuvre: “I have often observed that there is no form that leaves him indifferent. He looks at everything, at every moment, because all forms represent something for him, and he sees everything as a sculptor […]. In my opinion, the mysterious side, the nerve center so to speak, of Picasso’s oeuvre is in the ‘sculpture’ that has made his work so talked about, that has won him so much glory.”
Galleries: second floor 
Curators: Carmen Giménez, Lucía Agirre 
Venues: Museo Picasso Málaga, Guggenheim Museum Bilbao 
Exhibition organized by the Guggenheim Museum Bilbao in collaboration with the Museo Picasso Málaga
Pablo Picasso 
Figure: Project for a Monument to Guillaume Apollinaire, 1928 
Iron wire and plate 
59.5 x 13 x 32 cm 
Musée national Picasso-Paris, gift by Pablo Picasso, 1979, 
Inv. Nr.: MP265 
Photo: © RMN-Grand Palais (Musée national Picasso-Paris)/ Adrien Didierjean 
© Succesion Pablo Picasso

Picasso Sculptor

From Non-Finito to cubism

Drawings in space

The Boisgeloup  Plasters

Clandestine Bronzes

Ceramics

Assemblages

Sheet Metal Sculptures and Monumental Sculptures

Public projects

Documentary Film

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We’d like to invite you to enjoy a virtual tour of the exhibition Picasso Sculptor. Matter and Body. This tour includes all the works and didactic texts in the show. 

</div>

Start

Pablo Picasso (b. 1881; d. 1973) worked with sculpture from practically the beginning of his long career. For the Málaga-born artist, it was not a lesser

Picasso Sculptor. Matter and Body | Guggenheim Museum Bilbao

Audio guide Yayoi Kusama

Yayoi Kusama: 1945 to Now

Iberdrola

Self-Portrait

Infinity

Accumulation

Radical Connectivity

Biocosmic

Death

Force of Life

Infinity Mirrored Room

“What does living a life mean? I lose myself in this thought every time I create artwork.” Yayoi Kusama.
“Dissolution and accumulation; propagation and separation; particulate obliteration and unseen reverberations from the universe—these were to become the foundations of my art, and they were already taking shape at this time.” Yayoi Kusama. 
Japanese artist and writer Yayoi Kusama (b. 1929, Matsumoto, Nagano) is a singular figure who has been revered by art historians for her pioneering career that span multiple art movements from the 1960s to the present, and has achieved the status of a global cultural icon. Over the last seven decades, Kusama has pursued her avant-garde vision with conviction and perfected her personal aesthetic, which reflects her philosophy of life. 
This exhibition focuses on the existential questions that drive Kusama’s creative explorations. Through paintings, drawings, sculptures, installations, and archival materials documenting her happenings and performances, the show offers an in-depth survey of Kusama’s work from her first drawings as a teenager during World War II to her most recent immersive, mirrored installations. Organized chronologically and thematically, the show addresses six key themes that recur throughout the artist’s life: Infinity, Accumulation, Radical Connectivity, Biocosmic, Death, and Force of Life. These interrelated themes have recurred and evolved within the obsessive universe of Kusama, who has been valiantly agitating the art scene and society for decades to promote “healing of all mankind.”
Galleries: 103, 105 
Curated by Doryun Chong and Mika Yoshitake in collaboration with Lucía Agirre 
Venues: M+, Hong Kong, Guggenheim Museum Bilbao 
Exhibition organized by M+, Hong Kong in collaboration with the Guggenheim Museum Bilbao
Yayoi Kusama 
Photo by Yusuke Miyazaki 
Courtesy of Ota Fine Arts, Victoria Miro, and David Zwirner. 
© YAYOI KUSAMA
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Yayoi Kusama

Early paintings

Installations, performances and fashion

International recognition

Today

VIDEO ABOUT THE EXHIBITION

We’d like to invite you to enjoy a virtual tour of the exhibition Yayoi Kusama: 1945 to Now. This tour includes all the works and didactic texts in the show.

“What does living a life mean? I lose myself in this thought every time I create artwork.” Yayoi Kusama.

Yayoi Kusama: 1945 to Now | Guggenheim Museum Bilbao

“This year’s project was particularly strong, dealing with a major issue of our time: environmental care. We dealt with a wide range of media and techniques. Also, we invited the whole school community to join us, expanding the project’s scope. Participation was key in the learning of both artistic and human skills, making the whole experience most rewarding.”

Artistas

Ansareo, Elssie

“The project came into being in our early talks with the teachers, but it really took shape when I met the students and saw how to go about the sessions. Working with students of different ages can be difficult, so I came up with an open proposal, keeping open to their students’ ideas and suggestions. Our topic was water – a common topic, dealt with from a new perspective. You can always find a good starting point: the school building and its environs, a drawing, a chart, a phrase… And suddenly… eureka! From then on, each session was a trial or a quest in which we all learned and had fun. The subject of water was just a pretext to look around us and within ourselves. We talked a lot, met many different artists, and tried a wide range of techniques. We painted, we posed, we walked… Right from the start, the teachers were ready to help.”

Garagarza, Ibon

“Working with emotions – identifying, guessing, representing, understanding them – has been exciting and difficult at once. We found many different ways of identifying feelings that can be difficult to communicate: facial expressions, gestures, movements, colors, words, questions… We took everything into account when dealing with emotions through art. I can see no better way of dealing with them.”

Ipiña, Zaloa

“Curiosity and motivation were very important this year. The students’ willingness to learn and to discuss current issues moved the project forward. We used different techniques to voice the children’s concerns.”

Lekuona, Nerea

“We worked with emotions as expressed through art. We experienced them in our bodies. We associated emotions to colors and produced color balls. Often, the class dynamics was disrupted and I unsuccessfully asked the children to calm down. So I said, “White, white, white” and they associated this color with calm, so they stopped moving and fell silent. We began to use a different language, saying, for instance, “I’m red” when we meant “I feel frustrated.” This creative game led to interesting interactions between the students.”

López, Maider

Ibon Sáenz de Olazagoitia 
“Just like in the Age of Discoveries, the boys and girls in this school embarked on an adventure to discover overlooked facts about nature around them, realizing that, even when abused, it is always there, ready to bloom. They looked through the lens of a microscope; they learned how to make vegetable-based dye and understood the effects of the sun on it; they learned how to make and recycle paper; they represented imaginary beings. They did all this to share their cabinet of curiosities with an audience, showing that we can always conjure up other realities.”

Sáenz de Olazagoitia, Ibon

Learning through art 2023

BBK_new

14 students, 3rd grade, Judimendi School, Vitoria-Gasteiz

NATURE UNVEILED

34 students, 1st to 6th grade, Lauaxeta School, Laukiz

THE WAYS OF WATER

19 students, 2nd grade, San Pedro Apóstol School, Bilbao

SUSTAINABLE WANDERING GALLERY

16 students, 6th grade, Presentación de María School, Donostia-San Sebastián

I’M A LION, I’M A TREE

12 students, 5th and 6th grades, Ingeniero José Orbegozo Gorostidi School, Bilbao

WHAT DOES THE FUTURE HOLD?

PAINTING EMOTIONS

June 13 – September 17, 2023
This exhibition presents a selection of works created by more than a hundred schoolchildren ages 6 to 12 during the 2022–2023 school year as part of the educational program Learning through Art. This initiative has been running for 25 years, and during this time it has opened up new paths in schools around the Basque Country, exploring the Primary curriculum from an artistic perspective and using a unique pedagogical approach.
Elssie Ansareo, Ibon Garagarza, Zaloa Ipiña, Nerea Lekuona, Maider López, and Ibon Saénz de Olazagoitia are the artists who have accompanied students from six schools on this adventure over the course of twenty sessions. In these sessions, artistic projects have been developed to explore matters covered in the curriculum such as sustainability, water conservation, and the expression of emotions, encouraging schoolchildren to participate in their own creative processes, inviting them to think, value, choose, try, ask questions, have fun, and sometimes also to get lost and, of course, to make mistakes, since without error there is no progress.
The exhibition closes the cycle on this artistic process by presenting to the public the works these students created. Visitors to the show will have an unexpected opportunity to enjoy fresh and original views, explore inspiring ideas, and share in the excitement of discovery and creation felt by the participating schoolchildren.
Room: Education Space

25th ANNIVERSARY

Impact

BILBAO-NEW YORK EXCHANGE

Learning Through Art 25 years

June 13 – September 17, 2023 This exhibition presents a selection of works created by more than a hundred schoolchildren ages 6 to 12 during the 2022–2023

Learning through art 2023 | Guggenheim Museum Bilbao

18€ Adults - 9€ Senior - 9€ Students

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