The Sensation of Space

One day, in my bedroom, I was looking at a napkin left on a chair and I suddenly realized that not only was each object alone, but that it had a weight — or actually a weightlessness — that kept it from weighing on any other. The napkin was alone, so alone that I felt I could take away the chair without changing the napkin’s position. It had its own place, its own weight, even its own silence. The world was light, light… — Alberto Giacometti

In his essay on artist and friend Alberto Giacometti, French writer Jean Genet describes a conversation in which Giacometti discusses his understanding of objects as existing in a kind of spatial solitude, apart from their surroundings, with the ability to generate a new awareness of space around them. In this brief exchange, the artist offers his impression of the complex and poetic relationship we share with the material, physical world. It is through the act of making a sculpture that Giacometti — and the artist in general — imbues each object with its own place or weight, or as Genet describes, “the sensation of space” that surrounds it.

Taking Genet’s description as its title, this exhibition looks at the ever-expanding ways artists create sculptures that generate, activate, and occupy space in all its physical and psychological manifestations. At its foundation is a dialogue between the Raymond and Patsy Nasher Collection, one of the world’s finest collections of European and American modern and contemporary sculpture, and The Rachofsky Collection, a post-WWII collection of art from around the world with focuses in identity, process, and conceptual work. The Sensation of Space explores the material, formal, and thematic connections in works dating from the mid-19th century to the present and illustrates how artists continually seek out new ways to redefine traditional notions of sculpture.

The Sensation of Space is co-organized by The Warehouse in partnership with the Nasher Sculpture Center. The exhibition features works from The Rachofsky Collection, the Raymond and Patsy Nasher Collection, the Nasher Sculpture Center, the Dallas Museum of Art, the Collection of Marguerite Steed Hoffman, the Collection of Deedie Potter Rose, and the Collection of Christen and Derek Wilson.

Dr. Leigh A. Arnold & Thomas Feulmer

Exhibition Curators


For his 2017 project at The Warehouse, artist Shuji Mukai was invited to create one of his architectural interventions in the men’s and women’s restrooms. Over the course of nine days, and with two assistants, Mukai covered every surface in these spaces with his nonsensical symbols. Acrylic paint, marker, and tape generate a variety of textures and layers, distorting and complicating our perception of the rooms.


Gathering more than 100 works created between 1952 and 2016 by 61 artists, Topologies offers both snapshots of particular moments in time and historical lineages that unfold over years. It draws from The Rachofsky Collection’s strong formal and conceptual holdings on international practices that emphasize process and materiality. The show expands on themes including permutation and distortion in space, inversions and other shifts in the body’s phenomenological relationship to space, material transition based on gravity and entropy, the politics of displacement, and reconceiving abject encounters between the synthetic and organic.

Topologies draws works from The Rachofsky Collection, the Dallas Museum of Art, Deedie Rose, and Jennifer and John Eagle.


July 10, 2017 – April 14, 2018

In the short story William Wilson, Edgar Allan Poe presents a sinister plot: the tale of a character who, from his childhood, experiences the apparition of a figure who in everything resembles and haunts him with similitude and repetition – until he turns out to be himself. It is the doppelgänger, or double, a recurring figure in literature (from Dostoyevsky to Borges and Wilde) and in all the arts. The very act of representing – oneself or the other – can be understood as a gesture of creation of parallel realities, thus doubles to those in which we live. The exhibition DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES takes this literary figure as a starting point to create an inventory of situations in which otherness and duplication/repetition are manifested in works from The Rachofsky Collection, The Rose Collection, The Collection of Marguerite Steed Hoffman, and the Dallas Museum of Art, among others, assuming diverse configurations: from forms of representation that occur through replicas, shadowing, and mirroring to logical-formal exercises that are expressed by the use of halves and doubles. The narrative departs from works in which the theme of the double appears explicitly – the most striking example being Felix Gonzalez-Torres’ “Untitled” (Perfect Lovers), an iconic piece from the collection with its identical but different clocks – to arrive at the idiom of abstraction, where virtual space and its relationship between exterior and interior constitute a bridge to the rapports between the self and the other.

DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES includes work by John Ahearn, Eija-Liisa Ahtila, Kai Althoff, Laurie Anderson, Giovanni Anselmo, Janine Antoni, Jo Baer, Robert Barry, Georg Baselitz, Alighiero Boetti, Marcel Broodthaers, Vija Celmins, Chung Chang-Sup, Alice Channer, Lygia Clark, Bruce Conner, Alexandre da Cunha, Jessica Dickinson, Rineke Dijkstra, Marlene Dumas, Luciano Fabro, Saul Fletcher, Lucio Fontana, Gilbert & George, Robert Gober, Fernanda Gomes, Felix Gonzalez-Torres, Mona Hatoum, Lee Kangso, Ellsworth Kelly, Mary Kelly, Lee Kun-Yong, Luisa Lambri, Glenn Ligon , Seung-Taek Lee, Jorge Macchi, Mangelos, Babette Mangolte, Piero Manzoni, Robert Mapplethorpe, Kris Martin, Allan McCollum, Gabriel Orozco, Damián Ortega, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, R.H. Quaytman, Charles Ray, Ad Reinhardt, Mauro Restiffe, Medardo Rosso, Salvatore Scarpitta, John Schabel, Richard Serra, Jiro Takamatsu, Richard Tuttle, Luc Tuymans, Lee Ufan, William Wegman, Rachel Whiteread, Steve Wolfe, and Lynette Yiadom-Boakye, as well as objects from Dallas Museum of Art’s Ancient Art of the Americas and Arts of Africa collections.

Rodrigo Moura
Exhibition Curator


DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES is the first in a series of guest-curated exhibitions at The Warehouse.


Thinking Out Loud: Notes for an Evolving Collection

January 30 – April 30, 2017

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As we enter the fifth year of The Warehouse, we want to share with visitors our own personal journey in collecting. Unlike past exhibitions, which were very specific and curatorially rigorous, this presentation reflects the pluralistic nature of contemporary art at this moment, when no dominant art movement controls the conversation.

Allan Schwartzman has curated not one but several ideas that interest us, embracing recent acquisitions as well as older works not previously presented at The Warehouse. This is by no means an attempt to define the state of contemporary art, but rather an effort to evaluate our own collecting instincts as we navigate the contemporary art world.

We welcome feedback and look forward to many conversations as we proceed along our journey.

Please enjoy,

Cindy and Howard

Identity Revisited

Identity Revisited examines personal and cultural notions of identity in contemporary art. International in scope and spanning many generations, the exhibition features work in a variety of media that address issues of history, gender, race, childhood, mortality, and memory. Recent acquisitions in the exhibition include a Rosemarie Trockel wool painting from 1987, a recent Mark Bradford video installation, and sculptures by Pierre Huyghe and Janine Antoni. Identity Revisited draws works from The Rachofsky Collection, the Collection of Amy and Vernon Faucloner, the Dallas Museum of Art, George Michael, the Collection of Robert and Marguerite Hoffman, The Rose Collection, and Sharon and Michael Young.


Artists in the exhibition are Doug Aitken, Kai Althoff, Janine Antoni, Ida Applebroog, Georg Baselitz, Joseph Beuys, Alighiero Boetti, Michaël Borremans, Louise Bourgeois, Mark Bradford, Troy Brauntuch, Cris Brodahl, Brian Calvin, Maurizio Cattelan, Judy Chicago, Nigel Cooke, Rineke Dijkstra, Marlene Dumas, Tim Gardner, Isa Genzken, Robert Gober, Felix Gonzalez-Torres, Mona Hatoum, Eva Hesse, Jim Hodges, Jenny Holzer, Jonathan Horowitz, Pierre Huyghe, Christian Jankowski, Birgit Jürgenssen, Sanya Kantarovsky, On Kawara, William Kentridge, Tetsumi Kudo, Michael Landy, Charles LeDray, Glenn Ligon, Victor Man, Robert Mapplethorpe, Marisa Merz, Hiroshi Nakamura, Bruce Nauman, Dennis Oppenheim, Giulio Paolini, Alessandro Pessoli, Sigmar Polke, Marc Quinn, Charles Ray, Lucas Samaras, Thomas Schütte, Kiki Smith, Do Ho Suh, Rirkrit Tiravanija, Rosemarie Trockel, Luc Tuymans, Kara Walker, and Andro Wekua.


Pierre Huyghe
La déraison, 2014
concrete, marble, heating system, water, and plants
The Rachofsky Collection


Geometries On and Off the Grid: Art from 1950 to the Present examines geometry in the art of the postwar period and its evolution from an increasingly reductivist language in the 1950s and 60s to one that was re-envisioned in the 1960s and 70s as a means of reincorporating the figure and representations of identity into vanguard art. This history, which has been principally told from an American perspective, is explored here with the work of 112 artists from 18 countries in North America, Europe, Latin America, and Asia, spanning 7 decades of art making. By proposing at times unorthodox lineages and combining works from cultures that are not commonly displayed side by side, the exhibition aims to provide fresh insights into the history of postwar art.Geometries On and Off the Grid draws works from The Rachofsky Collection, The Rose Collection, The Collection of Marguerite Steed Hoffman, the Dallas Museum of Art, and the collections of Amy and Vernon Faulconer and Sharon and Michael Young.

Allan Schwartzman
Exhibition Curator

This exhibition is a program of The Warehouse, a project initiated by Vernon Faulconer and Howard Rachofsky to open new dialogues about postwar Modern and contemporary art.

On view February 2 – November 30, 2015.


Room by Room presents a selection of artists of importance to the Rachofsky and Faulconer collections. Spanning many generations, media, and artistic viewpoints, together these artists provide a glimpse into the broad range of the collections inclusive of many of the significant artistic developments in the postwar period. Each room is devoted to the work of a single artist. In some instances (such as with Carroll Dunham, Janine Antoni, and Mona Hatoum) all of the works by the artists in the collections are presented. In others, we focus on a single work. This exhibition will evolve over time as we change certain rooms, introducing the works of additional artists in the collections. Room by Room is an opportunity for us at The Warehouse to examine our commitments to certain artists, to explore what their works reveal about the art of our time (whether singly or in combination), and to set goals and priorities for future collecting. On view February 26 – December 5, 2014.

Allan Schwartzman
Curator of the Exhibition
Director of The Rachofsky Collection
Advisor to The Amy and Vernon Faulconer Collection


Parallel Views: Italian and Japanese Art from the 1950s, 60s, and 70s aims to show connections between the work of a diverse range of artists from two geographic locations – Italy and Japan – during the early post-war period. Artists from groups such as Arte Povera, Gutai, and Mono-ha are included in the exhibition. Works on view are part of The Rachofsky Collection, The Amy and Vernon Faulconer Collection, and the Dallas Museum of Art, along with a number of other collections. Many of these artists have not been shown prominently throughout the United States, and along with the Dallas Museum of Art, The Warehouse is making a concerted effort to present this exciting and important material to an American audience. Parallel Views is curated by Allan Schwartzman. On view February 17, 2013 – January 31, 2014.

Artists in the Exhibition

Norio Imai Giovanni Anselmo
Susumu Koshimizu Alighiero Boetti
Yayoi Kusama Alberto Burri
Takesada Matsutani Enrico Castellani
Sadamasa Motonaga Luciano Fabro
Shuji Mukai Lucio Fontana
Saburo Murakami Jannis Kounellis
Hitoshi Nomura Luigi Ghirri
Nobuo Sekine Piero Manzoni
Shozo Shimamoto Mario Merz
Fujiko Shiraga Marisa Merz
Kazuo Shiraga Giulio Paolini
Kishio Suga Giuseppe Penone
Jiro Takamatsu Michelangelo Pistoletto
Atsuko Tanaka Shomei Tomatsu
Chiyu Uemae Marcel Broodthaers
Lee Ufan Christo
Tsuruko Yamazaki Bruce Conner
Katsuro Yoshida Robert Rauschenberg
Jiro Yoshihara

The First Exhibition

The first installation at The Warehouse features work from both The Rachofsky Collection and The Amy and Vernon Faulconer Collection, including works by Sigmar Polke, Gerhard Richter, Marlene Dumas, Lucio Fontana, Piero Manzoni, Alberto Burri, Jim Hodges, Kara Walker, Carroll Dunham, Vija Celmins, Robert Irwin, Ricci Albenda, Mario Merz, and Gabriel Orozco, among others.

On view October 21, 2012 – January 17, 2013