Mary Mattingly is a visual artist. She founded Swale, an edible landscape on a barge in New York City. Docked at public piers but following waterways common laws, Swale circumnavigates New York's public land laws, allowing anyone to pick free fresh food. Swale instigated and co-created the "foodway" in Concrete Plant Park, the Bronx in 2017. The "foodway" is the first time New York City Parks is allowing people to publicly forage in over 100 years. It's currently considered a pilot project. Mattingly recently launched Public Water with More Art and completed a two-part sculpture “Pull� for the International Havana Biennial with the Museo Nacional de Bellas Artes de la Habana and the Bronx Museum of the Arts, two spherical ecosystems that were pulled across Habana to Parque Central and the museum. In 2018 she received a commission from BRIC Arts Media to build "What Happens After" which involved dismantling a military vehicle (LMTV) that had been to Afghanistan and deconstructing its mineral supply chain. A group of artists including performance artists, veterans, and public space activists re-envisioned the vehicle for BRIC. In 2016 Mattingly led a similar project at the Museum of Modern Art. In 2014, an artist residency on the water called WetLand launched in Philadelphia and traveled to the Parrish Museum. It was employed by the University of Pennsylvania’s Environmental Humanities program until 2017. Mary Mattingly’s work has also been exhibited at Storm King, the International Center of Photography, the Seoul Art Center, the Brooklyn Museum, the New York Public Library, deCordova Museum and Sculpture Park, and the Palais de Tokyo. Her work has been featured in Aperture Magazine, Art in America, Artforum, Art News, Sculpture Magazine, The New York Times, New York Magazine, Financial Times, Le Monde Magazine, Metropolis Magazine, New Yorker, The Wall Street Journal, the Brooklyn Rail, and on BBC News, MSNBC, NPR, WNBC, and on Art21. Her work has been included in books such as the Whitechapel/MIT Press Documents of Contemporary Art series titled “Nature� and edited by Jeffrey Kastner, Triple Canopy’s Speculations, the Future Is... published by Artbook, and Henry Sayre’s A World of Art, 8th edition, published by Pearson Education Inc.

John Grade's drawings, sculptures and installations are weathered, marked, worn and disintegrated. Made of reclaimed wood or paper, the works are buried for termites to devour, sunk into a bay to collect barnacles, or hung in forest trees for birds t o eat. Grade's work represents our changing environment. An attraction to travel and to the land shapes the work, mirroring pattern s found in nature, such as wasp nests, erosion, honeycombs, rocks, trees and the passage of time. Grade invites natural forces to erode and change the work and its material, e x ploring both control and disruption and risk and measured thought. The works beg in from an ex - perience - a reaction to place and history or a trek into the landscape, whether it is the old growth forests of the Pacific Northwest or the hills of Iceland.

"Wonder" celebrates the reopening of the Smithsonian s Renwick Gallery following a major renovation of its historic landmark building, the first purpose-built art museum in the United States. Nine major contemporary artists, including Maya Lin, Tara Donovan, Leo Villareal, Patrick Dougherty, and Janet Echelman, were invited to take over the Renwick s galleries, transforming the whole of the museum into an immersive cabinet of wonders. Mundane materials such as index cards, marbles, sticks, and thread are conjured into strange new worlds that demonstrate the qualities uniting these artists: a sensitivity to site and the ways we experience place, a passion for making and materiality, and a desire to provoke awe.A wide-ranging essay by Nicholas R. Bell connects these artworks to wonder s role throughout Western culture, to the question of how museums have evolved as places to encounter wondrous things, and to the symbolic weight of the moment as this building is dedicated to art for the third instance in three centuries. It is of no small consequence, writes Bell, that we, as a public, commit to the perpetuation of spaces that harbor the potential for subjective and intensive encounters with art. That we maintain museums for this purpose reveals wonder to be fundamental in our quest to establish who we are, and to grasp the universe beyond."