FOR-SITE Foundation
  • Share
  • Search
  • Contact
  • About
    • Overview
    • Staff, Board, Partners
    • Press Room
    • Contact
    • Website Credits
  • Projects
    • Overview
    • On View
    • Past
    • Plan Your Visit
    • Artist Programs
  • Places
    • Alcatraz Island
    • Fort Mason
    • Fort Winfield Scott
    • Fort Point
    • The Presidio
    • Nevada City Residency
  • Events
  • Field Notes
  • Support
    • Overview
    • Donor Events
    • Supporters
    • Visionaries
  • Shop

Lands End FAQs

back to Lands End

  • What was the inspiration for the project?
  • Why is this exhibition in a national park? Why the title Lands End?
  • Is there a cost to view the exhibition?
  • What are the exhibition viewing hours?
  • Is the exhibition open during holidays?
  • What kind of exhibition information is available on-site?
  • How can I share feedback, comments, or reflections on the exhibition?
  • What measures are in place to limit COVID-19 spread at the former Cliff House?
  • How do I get there?
  • Is the exhibition site Americans with Disabilities Act (ADA)–accessible?
  • Are domestic animals allowed inside the exhibition?
  • How long does it typically take to view the exhibition?
  • Are there any related public programs occurring during the exhibition?
  • How can I learn more about the partnering organizations?
  • If I am not ready to visit in person, can I still engage with the show?
  • Can I eat and drink at the former Cliff House?


What was the inspiration for the project?

We can no longer deny that our relentless cycle of consumption and disposal has left the natural world more vulnerable than ever to human impact. The seeming abundance of natural resources that supports exponential population growth and endless expansion belies the fragility of this planet. Our ability to address the evidence—in spite of flagrant disbelief, hubris, and resistance to the realities of climate change—is now of the greatest importance. The former Cliff House is an ideal venue for framing and exploring these critical issues. This Victorian-era landmark, originally built in 1863, represents the hubris and idealism of the age and a throwback to a time before the contemporary fear of climate’s wrath. Historically, the Cliff House provided spectacular vistas of the sea, a place to gather and indulge oneself in culinary excess and comfort while being mesmerized by the crashing waves of the turbulent sea below. The building now stands empty and discarded, perhaps a harbinger of things to come.


Why is this exhibition in a national park? Why the title Lands End?

Dedicated to the creation, presentation, and understanding of art about place, the FOR-SITE Foundation, for the last 18 years, has organized exhibitions on public land that bring forth questions around the most pressing issues of our time. Working in partnership with the National Park Service (NPS), we produce projects in historic structures within and around San Francisco. Past use imbues these locations with a rich foundation from which to build a platform for understanding complex histories and present challenges. The sites are chosen carefully to support the concepts contained within the exhibitions. 

Lands End, sited at the historic former Cliff House—a place where land meets the sea—metaphorically marks the end of things as we know them. The former Cliff House—an iconic San Francisco site that is part of the Golden Gate National Recreation Area and operated by the National Park Service (NPS)—is well suited to an exhibition investigating human impact on the natural world.


Is there a cost to view the exhibition?

Entry to the exhibition is free, but you must reserve a timed ticket in advance. Reserve now.


What are the exhibition viewing hours?

Lands End is on view from Sunday, November 7, 2021, to Sunday, March 27, 2022. 

Viewing hours are Thursday to Sunday from 11 a.m. to 5 p.m. Reserve now.


Is the exhibition open during holidays?

Please make note of the following holiday hours:

Veterans Day Thursday, 11/11/21: Closed
Thanksgiving Thursday, 11/25/21: Closed
Christmas Eve Friday, 12/24/21: Open 11-3
Christmas Day Saturday, 12/25/21: Closed
New Year’s Eve Friday, 12/31/21: Open 11–3
New Year’s Day Saturday, 1/1/22: Closed

Reserve your timed tickets now.


What kind of exhibition information is available on-site?

On-site interpretation includes printed materials and signage. Trained Art Guides are available to answer questions and offer assistance during exhibition viewing hours.


How can I share feedback, comments, or reflections on the exhibition?

Visitors are actively encouraged to delve deeper into the exhibition’s artists and themes online and through social media before, during, and after their visits. Participate in conversations and share experiences via social media using the hashtag #ArtAboutPlace (Twitter, Facebook, and Instagram). Visitors are also invited to use the Golden Gate National Parks Conservancy’s’ hashtag #Parks4All (Twitter, Facebook, and Instagram) and the NPS’s hashtag #FindYourPark (Twitter, Facebook, and Instagram). Wi-Fi is available at the exhibition site. A hard-copy comment book is available to on-site visitors, as well.


What measures are in place to limit COVID-19 spread at the former Cliff House?

In accordance with the San Francisco Health Order to limit the spread of COVID-19, face masks are mandatory for all visitors ages 2 years and older to Lands End at the former Cliff House, regardless of vaccination status. 

FOR-SITE enforces social distancing between exhibition staff and visitors, and we ask that visitors maintain a 6-foot distance from others.

Contactless hand-sanitizer stations are available on-site: at the entrance of the former Cliff House, and next to the elevator on the lower level of the building. Additionally, restrooms are located on the entrance level.

In order to participate in guided tours, educational programs, and all events related to the exhibition, FOR-SITE requires attendees 12 years and older to present a vaccination card or a negative COVID-19 test taken within 72 hours of the program, along with a photo ID. 

Food and drinks are not allowed inside the exhibition.

Timed tickets must be reserved in advance. Reserve now.

Thank you for your understanding, and for supporting our efforts to keep all visitors safe.

Before coming to your scheduled visit, we encourage you to answer the COVID-19 pre-screening questions. If you answer “yes” to any of the questions, we strongly encourage you to reschedule your visit.


How do I get there?

Public transportation

FOR-SITE and the Golden Gate National Parks Conservancy encourage visitors to use public transportation to access the exhibition. 

The number 38 bus line goes to the former Cliff House; the stop is 48th Street / Point Lobos. 

The Muni N line stop at Judah / La Playa / Ocean Beach is a roughly 30-minute walk along Ocean Beach from the former Cliff House.  

For trip planning (including routes and schedules), visit sfmta.com or follow this Google Maps link.

Foot or Bike

Lands End trail access is located 1.1 miles north of the exhibition site. Bicycle parking is available at the Lands End Lookout Visitor Center parking lot. 

Car

Parking is available at the Lands End Lookout Visitor Center parking lot. Please do not leave any valuables inside your car.


Is the exhibition site Americans with Disabilities Act (ADA)–accessible?

The historic former Cliff House has one ADA-accessible parking space, and more are available at the Lands End Lookout Visitor Center parking lot. There are wheelchair accessible pathways to the exhibition site. The exhibition offers large-print and braille exhibition brochures. On-site Art Guides are also available to assist those with accessibility needs. Service animals are permissible at the exhibition site.


Are domestic animals allowed inside the exhibition?

Because of the fragility of the artworks, only service animals are allowed inside the former Cliff House. Domestic animals are allowed in the outdoor areas of the site, but they must be kept on leash at all times.


How long does it typically take to view the exhibition?

The exhibition features works by 26 artists. We recommend that you plan to spend a minimum of 1 hour on-site. Timed entry tickets are required, but once admitted, you may stay as long as you wish.


Are there any related public programs occurring during the exhibition?

Information about public programs information will be released throughout the run of the exhibition. Stay informed by following FOR-SITE on social media (Facebook, Twitter, Instagram) and/or subscribing to the FOR-SITE newsletter.


How can I learn more about the partnering organizations?

About the FOR-SITE Foundation

Established in 2003 by curator Cheryl Haines, the FOR-SITE Foundation is a nonprofit organization dedicated to the creation, understanding, and presentation of art about place. Recent projects encompass commissions, artist residencies, and educational programs, and include the acclaimed exhibition @Large: Ai Weiwei on Alcatraz; Homeland SecurityInternational Orange, a group exhibition honoring the 75th anniversary of the Golden Gate Bridge; Sanctuary; and a series of land-art installations by Andy Goldsworthy currently on view in the Presidio.

About the National Park Service

The National Park Service (NPS) is a federal agency within the US Department of the Interior charged with managing the preservation and public use of America’s most significant natural, scenic, historic, and cultural resources. The NPS manages the coastal areas of the Presidio and Golden Gate National Recreation Area, as well as 400 other park sites across the United States. NPS celebrated its centennial two years ago. Learn more at nps.gov.

About the Golden Gate National Parks Conservancy

The Golden Gate National Parks Conservancy is the nonprofit membership organization that supports the most-visited outpost in the US national park system. The conservancy provides aid for site transformations, trail improvements, habitat restoration, volunteer and youth engagement, and interpretive and educational programs. Conservancy-funded projects, in partnership with the National Park Service and Presidio Trust, are visible across the parks’ 80,000 acres—including the Presidio, Crissy Field, Muir Woods, Lands End, and Alcatraz. Learn more at parksconservancy.org.

About the California Academy of Sciences

The mission of the California Academy of Sciences is to regenerate the natural world through science, learning, and collaboration. The academy vision is that within a generation, the natural world is healthier, more resilient, and wilder each year. The academy is committed to:

  • Exploration: We generate new knowledge and understanding of the natural world and the role of people within it through scientific excellence, asking bold questions about the nature and future of life on Earth and bringing innovation and integrity to answer them.
     
  • Collaboration: We recognize that we can’t solve our planet’s vast environmental challenges alone, so we partner with world-leading environmental, scientific, and community organizations to strengthen and amplify our work and reach new audiences.
     
  • Diversity and equity: Diverse communities are stronger and more resilient, both in nature and in human society. We are committed to cultivating a culturally inclusive and equitable environment in which diversity of thought and expression is valued, respected, and celebrated.
     
  • Courage: Embracing the challenge of the present moment, we don’t shy away from tough challenges. Science is more important to our daily lives than ever before, and we unapologetically advocate for using scientific data to solve problems and make informed decisions about our collective future.
     
  • Advocacy: We harness our voice as a scientific and cultural institution to positively impact policy and public opinion in support of thriving social and ecological communities—and by listening to, lifting up, and learning from underrepresented voices.

To learn more about the California Academy of Sciences, visit calacademy.org


If I am not ready to visit in person, can I still engage with the show?

The exhibition website includes the biographies of each artist and texts about the works presented in Lands End. You can follow stories and posts from Lands End on FOR-SITE’s (Facebook, Twitter, Instagram) accounts, and you can comment using the hashtag #ArtAboutPlace. We also plan to organize some remote programs related to the exhibition, so stay tuned!


Can I eat and drink at the former Cliff House?

Because of the fragility of the artworks, food and drink are strictly forbidden inside the former Cliff House building. The restaurant and bar formerly installed in the building are closed. Snacks and beverages are available at the Land Ends Lookout Visitor Center nearby. Please check in with staff there about the specific COVID-19 restrictions at the visitor center.

More Information

  • FAQs
  • Volunteer Opportunities
  • COVID-19 Information
  • Getting There

Artist Editions

  • Syjuco DSC_2956a copy
  • alfarrowmultiple
  • michelepredmultipleopen
  • trevorpaglen-challenge-coin_rdh_001

Facebook

For-Site Foundation

Twitter

  • #LandsEnd featured artist Andrea Chung’s video Come Back to Jamaica (2009), & Come Back to Yourself (2013), will be… https://t.co/HXwouRNnBa
  • FOR-SITE is thrilled to partner with local chefs & mixologists in hosting small, safe cocktail parties & suppers on… https://t.co/q1lElox0gx

Instagram

Get to know the history of FOR-SITE with our founder @cheryllhaines
for_site
for_site
•
Follow
Get to know the history of FOR-SITE with our founder @cheryllhaines
1 day ago
View on Instagram |
1/9
“Overall, this project examines the effects of xenophobia and national identification in southern Africa, and how this provides a context with which to understand the rise of nationalism in numerous countries across Europe and Southern Africa.”#MelekoMokgosi, Sanctuary(2018)
for_site
for_site
•
Follow
“Overall, this project examines the effects of xenophobia and national identification in southern Africa, and how this provides a context with which to understand the rise of nationalism in numerous countries across Europe and Southern Africa.”#MelekoMokgosi, Sanctuary(2018)
3 days ago
View on Instagram |
2/9
The fantastical realms portrayed in @shivaahmadi_studio’s large-scale paintings and animated video adaptations teeter on the threshold of annihilation, as a menagerie of Orwellian creatures carelessly brandishes bombs, hand grenades, and pipes. Stability and security are at their mercy; chaos is poised to erupt. Based in California but born in Tehran, Ahmadi was a witness to the destruction of the Iran-Iraq War at a formative time of her life. Her art reflects this experience in exploring the intersections of religion and politics, power and corruption, and the psychic landscape of war — a fearsome, controlling power that threatens to spin out of control at any moment. The delicate lines, gold tracery, and tiny figures suggest Persian and Indian miniature paintings transposed to a grand scale. The watercolor, imprecise and flecked with hair, rice, and salt granules — elements that introduce uncontrolled effects — conveys a precarious foundation beneath the precise, mechanistic imagery of war. 

Shiva Ahmadi’s Lotus and Knot was featured in #ForSite’s 2016 exhibition Home Land Security
for_site
for_site
•
Follow
The fantastical realms portrayed in @shivaahmadi_studio’s large-scale paintings and animated video adaptations teeter on the threshold of annihilation, as a menagerie of Orwellian creatures carelessly brandishes bombs, hand grenades, and pipes. Stability and security are at their mercy; chaos is poised to erupt. Based in California but born in Tehran, Ahmadi was a witness to the destruction of the Iran-Iraq War at a formative time of her life. Her art reflects this experience in exploring the intersections of religion and politics, power and corruption, and the psychic landscape of war — a fearsome, controlling power that threatens to spin out of control at any moment. The delicate lines, gold tracery, and tiny figures suggest Persian and Indian miniature paintings transposed to a grand scale. The watercolor, imprecise and flecked with hair, rice, and salt granules — elements that introduce uncontrolled effects — conveys a precarious foundation beneath the precise, mechanistic imagery of war. Shiva Ahmadi’s Lotus and Knot was featured in #ForSite’s 2016 exhibition Home Land Security
5 days ago
View on Instagram |
3/9
In #AiWeiwei’s Blossom (2015), he quietly transformed the utilitarian fixtures in several Hospital ward cells and medical offices into delicate porcelain bouquets. @aiww designed intricately detailed encrustations of ceramic flowers to fill the sinks, toilets, and tubs that were once used by hospitalized prisoners. Blossom drew on and altered natural imagery as well as traditional Chinese arts. Rather than referring to national iconography, however, the flowers here carried other associations. The work could have been seen as symbolically offering comfort to the imprisoned, as one would send a bouquet to a hospitalized patient. #ForSite #ArtAboutPlace
In #AiWeiwei’s Blossom (2015), he quietly transformed the utilitarian fixtures in several Hospital ward cells and medical offices into delicate porcelain bouquets. @aiww designed intricately detailed encrustations of ceramic flowers to fill the sinks, toilets, and tubs that were once used by hospitalized prisoners. Blossom drew on and altered natural imagery as well as traditional Chinese arts. Rather than referring to national iconography, however, the flowers here carried other associations. The work could have been seen as symbolically offering comfort to the imprisoned, as one would send a bouquet to a hospitalized patient. #ForSite #ArtAboutPlace
for_site
for_site
•
Follow
In #AiWeiwei’s Blossom (2015), he quietly transformed the utilitarian fixtures in several Hospital ward cells and medical offices into delicate porcelain bouquets. @aiww designed intricately detailed encrustations of ceramic flowers to fill the sinks, toilets, and tubs that were once used by hospitalized prisoners. Blossom drew on and altered natural imagery as well as traditional Chinese arts. Rather than referring to national iconography, however, the flowers here carried other associations. The work could have been seen as symbolically offering comfort to the imprisoned, as one would send a bouquet to a hospitalized patient. #ForSite #ArtAboutPlace
1 week ago
View on Instagram |
4/9
Echoing the project's ethos of plurality, the Sanctuary (2018) Salon series - a cornerstone of the Sanctuary's public programming - wove together the voices of local artists whose practices span creative disciplines, including spoken word, music, dance, and performance.

Participating artists included: 
Jacques Ibula, Adam Bowers, Deema K. Shehabi, Lenora Lee Dance (Yi-Ting Hsu, Lynn Huang, Hien Huynh, Eric Koziol, and Shannon Preto), and Hope Mohr Dance with "Sanctuary" artist Ranu Mukherjee (Marlie Couto, Cylie Kindval, Hope Mohr, and Karla Quintero). Sanctuary was on view at Fort Mason Chapel from 

#FORSITE #ArtAboutPlace #Sanctuary #palastine
for_site
for_site
•
Follow
Echoing the project's ethos of plurality, the Sanctuary (2018) Salon series - a cornerstone of the Sanctuary's public programming - wove together the voices of local artists whose practices span creative disciplines, including spoken word, music, dance, and performance. Participating artists included: Jacques Ibula, Adam Bowers, Deema K. Shehabi, Lenora Lee Dance (Yi-Ting Hsu, Lynn Huang, Hien Huynh, Eric Koziol, and Shannon Preto), and Hope Mohr Dance with "Sanctuary" artist Ranu Mukherjee (Marlie Couto, Cylie Kindval, Hope Mohr, and Karla Quintero). Sanctuary was on view at Fort Mason Chapel from #FORSITE #ArtAboutPlace #Sanctuary #palastine
1 week ago
View on Instagram |
5/9
Long time For-Site collaborator #AndyGoldsworthy’s new permanent outdoor artwork at @yspsculpture Peter’s Fold, marks the retirement of Founding Director Sir Peter Murray CBE, who was Knighted in 2022 for his contribution to culture.

Peter’s Fold joins three other permanent sculptures by Goldsworthy that relate to the history and politics of landscape.
for_site
for_site
•
Follow
Long time For-Site collaborator #AndyGoldsworthy’s new permanent outdoor artwork at @yspsculpture Peter’s Fold, marks the retirement of Founding Director Sir Peter Murray CBE, who was Knighted in 2022 for his contribution to culture. Peter’s Fold joins three other permanent sculptures by Goldsworthy that relate to the history and politics of landscape.
2 weeks ago
View on Instagram |
6/9
#AiWeiwei has covered the facade of Old Québec’s Royal Battery with discarded lifejackets, used by Syrian refugees fleeing to Europe and recovered by the artist in 2016 on the Greek island of Lesbos. The installation, Life Jackets (2022) is on view in Québec City as part of the eighth edition of @lespassagesinsolites, a festival of public that seeks to offer unusual, surprising encounters in the urban experience.

Image: PUBLIC INSTALLATION, June 25 - October 10, 2022 Québec City, Canada
#AiWeiwei has covered the facade of Old Québec’s Royal Battery with discarded lifejackets, used by Syrian refugees fleeing to Europe and recovered by the artist in 2016 on the Greek island of Lesbos. The installation, Life Jackets (2022) is on view in Québec City as part of the eighth edition of @lespassagesinsolites, a festival of public that seeks to offer unusual, surprising encounters in the urban experience.

Image: PUBLIC INSTALLATION, June 25 - October 10, 2022 Québec City, Canada
for_site
for_site
•
Follow
#AiWeiwei has covered the facade of Old Québec’s Royal Battery with discarded lifejackets, used by Syrian refugees fleeing to Europe and recovered by the artist in 2016 on the Greek island of Lesbos. The installation, Life Jackets (2022) is on view in Québec City as part of the eighth edition of @lespassagesinsolites, a festival of public that seeks to offer unusual, surprising encounters in the urban experience. Image: PUBLIC INSTALLATION, June 25 - October 10, 2022 Québec City, Canada
2 weeks ago
View on Instagram |
7/9
San Francisco–based Adam Eli Feibelman (@adam5100) includes street art and raw data as two sources of inspiration for his incredibly detailed, hand-cut, multilayered stencil work, which immerses the viewer in complex urban landscapes, and in abstract fields of repeating and braided patterns. This social and geometric intricacy is reflected and amplified by his painstaking process, which is wholly improvised rather than based on predrawn outlines or compositional guides. Spread across four panels that subtly invoke allegories represented in stained glass, Wrath of a Mother Scorned speaks to the devastation caused by California’s increasingly apocalyptic seasonal wildfires. Fiercely radiating geometric patterns puncture layers of billowing smoke, while a great spiral sweeps up and curls to form the profile of a crashing wave or a hurricane viewed from Earth’s orbit. Feibelman’s elemental references to fire, water, and air speak to the vast scale of the planet’s climate systems while clearly linking them to our firsthand experience with a local—and immediate—threat. #landsend #artaboutplace #sanfrancisco #climatechange #climatecrisis
for_site
for_site
•
Follow
San Francisco–based Adam Eli Feibelman (@adam5100) includes street art and raw data as two sources of inspiration for his incredibly detailed, hand-cut, multilayered stencil work, which immerses the viewer in complex urban landscapes, and in abstract fields of repeating and braided patterns. This social and geometric intricacy is reflected and amplified by his painstaking process, which is wholly improvised rather than based on predrawn outlines or compositional guides. Spread across four panels that subtly invoke allegories represented in stained glass, Wrath of a Mother Scorned speaks to the devastation caused by California’s increasingly apocalyptic seasonal wildfires. Fiercely radiating geometric patterns puncture layers of billowing smoke, while a great spiral sweeps up and curls to form the profile of a crashing wave or a hurricane viewed from Earth’s orbit. Feibelman’s elemental references to fire, water, and air speak to the vast scale of the planet’s climate systems while clearly linking them to our firsthand experience with a local—and immediate—threat. #landsend #artaboutplace #sanfrancisco #climatechange #climatecrisis
2 weeks ago
View on Instagram |
8/9
#LandsEbd featured artist @dougaitkenworkshop’s WILDERNESS streaming on @mubi!
⁠
"Characters who linger on a beach, seduced by the views of the Pacific and the rhythms of the surf. A sequence of close-ups dig into their faces, photographing their spectrum of reactions in the presence of the landscape in front of them. Long shots capture the colors of the sun among the clouds, waves and a column of smoke on the horizon. But there is nothing reassuring or idyllic about the beach on the Pacific where Doug Aitken sets his short Wilderness, conceived last April as an immersive video installation for @303gallery in New York. Nature is shown almost en passant, without giving the viewer time to dwell on the images. Aitken focuses on the ways in which his characters contemplate the landscape, rather than the landscape itself. It is a nature always mediated by the perspective of the characters who observe it, indirectly returned to the viewer through a facial expression, a movement of the eyes. A mediation that also extends to smartphone and camera technology. Carmel (Regina Hall) said in the TV series Nine Perfect Strangers that nothing "is real until you post it on social networks", summarizing one of the great contradictions of our time as the impossibility of authentic and disinterested contemplation." -on www.duels.it the complete review by Edoardo Pelligra ⁠
⁠
@303gallery @regenprojects @victoriamirogallery @galerieevapresenhuber @mubiitalia @mubifrance @mubiuk @mubibrasil @mubiusa @duels.it ⁠@inlandempire92
@mubideutschland #mubiitalia #mubifrance #mubiuk #mubibrasil #mubiusa #mubideutschland #dougaitken #contemporaryart #installationart #filmart #installationart #losangeles #venicebeach⁠ 
⁠
for_site
for_site
•
Follow
#LandsEbd featured artist @dougaitkenworkshop’s WILDERNESS streaming on @mubi! ⁠ "Characters who linger on a beach, seduced by the views of the Pacific and the rhythms of the surf. A sequence of close-ups dig into their faces, photographing their spectrum of reactions in the presence of the landscape in front of them. Long shots capture the colors of the sun among the clouds, waves and a column of smoke on the horizon. But there is nothing reassuring or idyllic about the beach on the Pacific where Doug Aitken sets his short Wilderness, conceived last April as an immersive video installation for @303gallery in New York. Nature is shown almost en passant, without giving the viewer time to dwell on the images. Aitken focuses on the ways in which his characters contemplate the landscape, rather than the landscape itself. It is a nature always mediated by the perspective of the characters who observe it, indirectly returned to the viewer through a facial expression, a movement of the eyes. A mediation that also extends to smartphone and camera technology. Carmel (Regina Hall) said in the TV series Nine Perfect Strangers that nothing "is real until you post it on social networks", summarizing one of the great contradictions of our time as the impossibility of authentic and disinterested contemplation." -on www.duels.it the complete review by Edoardo Pelligra ⁠ ⁠ @303gallery @regenprojects @victoriamirogallery @galerieevapresenhuber @mubiitalia @mubifrance @mubiuk @mubibrasil @mubiusa @duels.it ⁠@inlandempire92 @mubideutschland #mubiitalia #mubifrance #mubiuk #mubibrasil #mubiusa #mubideutschland #dougaitken #contemporaryart #installationart #filmart #installationart #losangeles #venicebeach⁠ ⁠
3 weeks ago
View on Instagram |
9/9

Subscribe

"*" indicates required fields

This field is for validation purposes and should be left unchanged.

Field Notes

  • Ai Weiwei Yours Truly Facebook Banner

    “Ai Weiwei: Yours Truly” Virtual Cinema Release

  • Alfredo Jaar

    Black Lives Matter

Virtual Tour

Donate

Support innovative art about place.
Learn more or donate now!

Donate Online
PayPal - The safer, easier way to pay online!

©2021 FOR-SITE Foundation - Credits + Colophon

Join our mailing list to stay up to date.

 

"*" indicates required fields

This field is for validation purposes and should be left unchanged.