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DALY PR
pr/comms for design, architecture, and landscape; founded by Meara Daly
Ahead of the opening of her incredible solo show, Mending Lands, at St Vincents @stvincents in May, Marte Mei @martemei speaks to Mark Smith about her new body of work developed through extended research into phytoremediation. Her furniture lies at the intersection of art, design, & climate, and at the cutting edge of sustainable design. Read about her innovative process this weekend in @fthtsi
Thank you to @amancalledmark for your amazing words
@amelieambroise for the photos
The @fthtsi TEAM: @jellison22 @craftacularuk @katiefcwebb @louisquinze and more
And of course @stvincents & @martemei for this wonderful story!
TIME named Walter Hood of Hood Design Studio to the 2026 TIME100, its annual list of the 100 most influential people in the world. The full list and related tributes appear in the April 27, 2026, issue of TIME, available on newsstands on Friday, April 17, and now online.
The list recognizes the impact, innovation and achievement of the world’s most influential individuals. Hood joins artists Jafar Panahi and Benicio Del Toro, Photographer Lynsey Daddario, Olympic gold medal skater Alysa Liu, and Mayor of New York Zohran Mamdani on the list. This recognition represents another milestone in the growth and evolution of the Oakland-based Hood Design Studio. In addition to this honor, Walter Hood was recognized as one of Galerie Magazine’s Creative Minds for 2026, in May 2026 groundbreaking will commence on the major overhaul of Lincoln Center’s Damroch Park, the studio was selected to design the Kresge Foundation’s new campus in Troy, Michigan with Diller Scofidio Renfro, and The African American Ancestors Garden: History and Memory at the International African American Museum was released. Within the studio, Landscape Architect Alma Du Solier, who led the NVIDIA Campus and Intuit Dome landscape design teams was elevated to Partner, and Sarita Schreiber, who coordinated Migrations at the San Diego Airport was named Director of Social Art.
In her tribute landscape architect Kate Orff said, “Whether he‘s riffing off of the intertwined practices of landscape architecture, sculpture, and cultural anthropology, or crafting community parks in Oakland, California, his work allows us all to take part in a wider civic conversation. Walter has an almost kaleidoscopic power to ground us where we are, by propelling us into the past and simultaneously toward a more just future that is slowly coming into focus.”
@hooddesignstudio
Thank you @time
@sampjacobs
@cate.matthews
Kate Orff/ @scape_studio
Congratulations to @bestorarchitecture for their inclusion in the #AD100 list. Thank you so much to everyone at @archdigest & to @yoshihiromakino for these superb photos! (The Claremont Residence can be found in the July/Aug issue)
Congratulations to @bestorarchitecture for their inclusion in the #AD100 list. Thank you so much to everyone at @archdigest & to @yoshihiromakino for these superb photos! (The Claremont Residence can be found in the July/Aug issue)
Congratulations to @bestorarchitecture for their inclusion in the #AD100 list. Thank you so much to everyone at @archdigest & to @yoshihiromakino for these superb photos! (The Claremont Residence can be found in the July/Aug issue)
Thank you @cultured_mag for including Walter Hood of @hooddesignstudio on the Cultured 100 list! Honorees “in their respective fields—art, fashion, film, literature, politics, food, and more—they are choosing risk over reward, courage over fear, curiosity over cynicism, and conviction over covering bases. ”
Thank you @sarahgharrelson @maraveitch Ella Martin-Gachot @sophie2laura
#cult100
Link in stories & bio
Walter Hood in @wallpapermag
Each of his gardens, community spaces, streetscapes and masterplans finds its own voice through a blend of history, ecology, art and culture. Instead of erasing what existed before, Hood recovers forgotten histories, represents the particularities of place and makes marginalised people visible.
Thank you @shonquis Ellie Stathaki & the @wallpapermag team
Thank you for the wonderful photos by @peterprato
Walter Hood in @wallpapermag
Each of his gardens, community spaces, streetscapes and masterplans finds its own voice through a blend of history, ecology, art and culture. Instead of erasing what existed before, Hood recovers forgotten histories, represents the particularities of place and makes marginalised people visible.
Thank you @shonquis Ellie Stathaki & the @wallpapermag team
Thank you for the wonderful photos by @peterprato
Walter Hood in @wallpapermag
Each of his gardens, community spaces, streetscapes and masterplans finds its own voice through a blend of history, ecology, art and culture. Instead of erasing what existed before, Hood recovers forgotten histories, represents the particularities of place and makes marginalised people visible.
Thank you @shonquis Ellie Stathaki & the @wallpapermag team
Thank you for the wonderful photos by @peterprato
🤗 To all friends and fans of FCCW, on Saturday, May 16, we're hosting our annual fundraiser benefit, and we would LOVE your support! The funds that we raise at this event support free programs, new books, amazing exhibitions, our talented, generous staff & the lovely space, where we work SO HARD to make a home for our collective queer, creative, intersectional feminist dreams!
If you're able to attend, please buy a ticket (you know where to find the link) they start at $150 dollars — and we're presenting you with an evening full of goodies and baddies:
HOSTED by Sabrina Jalees @sabrinajalees
FOOD by Oooey Studios @oooey.studios
DRINKS by Silverlake Wine @silverlakewine & Hi Tops @hitopslosfeliz
DJ SET by The Alaia @the.alaia
PREVIEW of Radical Kinship curated by Chloe Flores @sea_flow
PERFORMANCE by Sharon Chohi Kim @sharonchohikim
ART RAFFLE featuring works from a group of stunningly awesome women, nonbinary, trans artists we adore — find more info in our bio to enter!
Even if you can't attend, send us some love, make a small donation, become a member, buy a book, send your favorite sponsors our way, come to a program, every little bit makes a difference 💗
🤗 To all friends and fans of FCCW, on Saturday, May 16, we're hosting our annual fundraiser benefit, and we would LOVE your support! The funds that we raise at this event support free programs, new books, amazing exhibitions, our talented, generous staff & the lovely space, where we work SO HARD to make a home for our collective queer, creative, intersectional feminist dreams!
If you're able to attend, please buy a ticket (you know where to find the link) they start at $150 dollars — and we're presenting you with an evening full of goodies and baddies:
HOSTED by Sabrina Jalees @sabrinajalees
FOOD by Oooey Studios @oooey.studios
DRINKS by Silverlake Wine @silverlakewine & Hi Tops @hitopslosfeliz
DJ SET by The Alaia @the.alaia
PREVIEW of Radical Kinship curated by Chloe Flores @sea_flow
PERFORMANCE by Sharon Chohi Kim @sharonchohikim
ART RAFFLE featuring works from a group of stunningly awesome women, nonbinary, trans artists we adore — find more info in our bio to enter!
Even if you can't attend, send us some love, make a small donation, become a member, buy a book, send your favorite sponsors our way, come to a program, every little bit makes a difference 💗
Meet Me In The Middle, a group exhibition curated by St Vincents founders Henri Delbarre and Geraldine Jackman explores the language of jewelry in contemporary design. The exhibition gathers eight female designers whose work bears the imprint of jewelry — whether as foundational training, lifetime obsession or quiet undercurrent. Meet Me In The Middle is not a show about adornment, but about transference: how jewelry’s enduring value can mutate when untethered from the body and amplified into space.
@stvincents
Anne Büscher @anne_buscher
Madeline Coven @madeline__coven
Marijke De Cock @marijke_decock
Kimy Gringoire @kimygringoire_design
Hannah Kuhlmann @studiokuhlmann with
Lisa Scherebnenko @lisascherebnenko
Marte Mei @martemei
Emily Thurman @emthurman
Meet Me In The Middle, a group exhibition curated by St Vincents founders Henri Delbarre and Geraldine Jackman explores the language of jewelry in contemporary design. The exhibition gathers eight female designers whose work bears the imprint of jewelry — whether as foundational training, lifetime obsession or quiet undercurrent. Meet Me In The Middle is not a show about adornment, but about transference: how jewelry’s enduring value can mutate when untethered from the body and amplified into space.
@stvincents
Anne Büscher @anne_buscher
Madeline Coven @madeline__coven
Marijke De Cock @marijke_decock
Kimy Gringoire @kimygringoire_design
Hannah Kuhlmann @studiokuhlmann with
Lisa Scherebnenko @lisascherebnenko
Marte Mei @martemei
Emily Thurman @emthurman
Meet Me In The Middle, a group exhibition curated by St Vincents founders Henri Delbarre and Geraldine Jackman explores the language of jewelry in contemporary design. The exhibition gathers eight female designers whose work bears the imprint of jewelry — whether as foundational training, lifetime obsession or quiet undercurrent. Meet Me In The Middle is not a show about adornment, but about transference: how jewelry’s enduring value can mutate when untethered from the body and amplified into space.
@stvincents
Anne Büscher @anne_buscher
Madeline Coven @madeline__coven
Marijke De Cock @marijke_decock
Kimy Gringoire @kimygringoire_design
Hannah Kuhlmann @studiokuhlmann with
Lisa Scherebnenko @lisascherebnenko
Marte Mei @martemei
Emily Thurman @emthurman
Meet Me In The Middle, a group exhibition curated by St Vincents founders Henri Delbarre and Geraldine Jackman explores the language of jewelry in contemporary design. The exhibition gathers eight female designers whose work bears the imprint of jewelry — whether as foundational training, lifetime obsession or quiet undercurrent. Meet Me In The Middle is not a show about adornment, but about transference: how jewelry’s enduring value can mutate when untethered from the body and amplified into space.
@stvincents
Anne Büscher @anne_buscher
Madeline Coven @madeline__coven
Marijke De Cock @marijke_decock
Kimy Gringoire @kimygringoire_design
Hannah Kuhlmann @studiokuhlmann with
Lisa Scherebnenko @lisascherebnenko
Marte Mei @martemei
Emily Thurman @emthurman
Meet Me In The Middle, a group exhibition curated by St Vincents founders Henri Delbarre and Geraldine Jackman explores the language of jewelry in contemporary design. The exhibition gathers eight female designers whose work bears the imprint of jewelry — whether as foundational training, lifetime obsession or quiet undercurrent. Meet Me In The Middle is not a show about adornment, but about transference: how jewelry’s enduring value can mutate when untethered from the body and amplified into space.
@stvincents
Anne Büscher @anne_buscher
Madeline Coven @madeline__coven
Marijke De Cock @marijke_decock
Kimy Gringoire @kimygringoire_design
Hannah Kuhlmann @studiokuhlmann with
Lisa Scherebnenko @lisascherebnenko
Marte Mei @martemei
Emily Thurman @emthurman
Meet Me In The Middle, a group exhibition curated by St Vincents founders Henri Delbarre and Geraldine Jackman explores the language of jewelry in contemporary design. The exhibition gathers eight female designers whose work bears the imprint of jewelry — whether as foundational training, lifetime obsession or quiet undercurrent. Meet Me In The Middle is not a show about adornment, but about transference: how jewelry’s enduring value can mutate when untethered from the body and amplified into space.
@stvincents
Anne Büscher @anne_buscher
Madeline Coven @madeline__coven
Marijke De Cock @marijke_decock
Kimy Gringoire @kimygringoire_design
Hannah Kuhlmann @studiokuhlmann with
Lisa Scherebnenko @lisascherebnenko
Marte Mei @martemei
Emily Thurman @emthurman
Meet Me In The Middle, a group exhibition curated by St Vincents founders Henri Delbarre and Geraldine Jackman explores the language of jewelry in contemporary design. The exhibition gathers eight female designers whose work bears the imprint of jewelry — whether as foundational training, lifetime obsession or quiet undercurrent. Meet Me In The Middle is not a show about adornment, but about transference: how jewelry’s enduring value can mutate when untethered from the body and amplified into space.
@stvincents
Anne Büscher @anne_buscher
Madeline Coven @madeline__coven
Marijke De Cock @marijke_decock
Kimy Gringoire @kimygringoire_design
Hannah Kuhlmann @studiokuhlmann with
Lisa Scherebnenko @lisascherebnenko
Marte Mei @martemei
Emily Thurman @emthurman
Walter Hood of @hooddesignstudio will be lecturing at the Architectural Association @aaschool in London
He will be joined in conversation with Nana Biamah-Ofosu @biamah.ofosu
April 21
6:30 pm
AA Lecture Hall 36 Bedford Square
Now Open: Catherine Opie: To Be Seen, Exhibition Design by Katy Barkan of Now Here, at The National Portrait Gallery
@nownowherehere
@katy.barkan
Room with Rooms stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution
The exhibition, curated in collaboration with the artist, is the first major museum exhibition of her work in the UK. The exhibition design, designed by Katy Barkan of Now Here stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution. Rather than dispersing Opie’s works throughout the galleries, the design reconstitutes the Gallery itself within the exhibition, creating “rooms within rooms” that allow for a direct encounter with both the formalities of portraiture and the politics of identity.
This architectural framework organizes the show as a sequence of square and rectilinear spaces threaded by enfilade views, recalling the classical rhythm of museum galleries while simultaneously misaligning their axes. This subtle displacement reframes familiar conventions through the lens of queerness—introducing moments of defamiliarization within a recognizably traditional setting. The first rooms stage Opie’s most radical and political works within formal containers, while later spaces blur distinctions between portrait and landscape, the personal and the collective.
Catherine Opie: To Be Seen
5 March, 2026 - 31 May 2026
National Portrait Gallery
St. Martin’s Place
London, WC2H 0HE
Now Open: Catherine Opie: To Be Seen, Exhibition Design by Katy Barkan of Now Here, at The National Portrait Gallery
@nownowherehere
@katy.barkan
Room with Rooms stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution
The exhibition, curated in collaboration with the artist, is the first major museum exhibition of her work in the UK. The exhibition design, designed by Katy Barkan of Now Here stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution. Rather than dispersing Opie’s works throughout the galleries, the design reconstitutes the Gallery itself within the exhibition, creating “rooms within rooms” that allow for a direct encounter with both the formalities of portraiture and the politics of identity.
This architectural framework organizes the show as a sequence of square and rectilinear spaces threaded by enfilade views, recalling the classical rhythm of museum galleries while simultaneously misaligning their axes. This subtle displacement reframes familiar conventions through the lens of queerness—introducing moments of defamiliarization within a recognizably traditional setting. The first rooms stage Opie’s most radical and political works within formal containers, while later spaces blur distinctions between portrait and landscape, the personal and the collective.
Catherine Opie: To Be Seen
5 March, 2026 - 31 May 2026
National Portrait Gallery
St. Martin’s Place
London, WC2H 0HE
Now Open: Catherine Opie: To Be Seen, Exhibition Design by Katy Barkan of Now Here, at The National Portrait Gallery
@nownowherehere
@katy.barkan
Room with Rooms stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution
The exhibition, curated in collaboration with the artist, is the first major museum exhibition of her work in the UK. The exhibition design, designed by Katy Barkan of Now Here stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution. Rather than dispersing Opie’s works throughout the galleries, the design reconstitutes the Gallery itself within the exhibition, creating “rooms within rooms” that allow for a direct encounter with both the formalities of portraiture and the politics of identity.
This architectural framework organizes the show as a sequence of square and rectilinear spaces threaded by enfilade views, recalling the classical rhythm of museum galleries while simultaneously misaligning their axes. This subtle displacement reframes familiar conventions through the lens of queerness—introducing moments of defamiliarization within a recognizably traditional setting. The first rooms stage Opie’s most radical and political works within formal containers, while later spaces blur distinctions between portrait and landscape, the personal and the collective.
Catherine Opie: To Be Seen
5 March, 2026 - 31 May 2026
National Portrait Gallery
St. Martin’s Place
London, WC2H 0HE
Now Open: Catherine Opie: To Be Seen, Exhibition Design by Katy Barkan of Now Here, at The National Portrait Gallery
@nownowherehere
@katy.barkan
Room with Rooms stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution
The exhibition, curated in collaboration with the artist, is the first major museum exhibition of her work in the UK. The exhibition design, designed by Katy Barkan of Now Here stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution. Rather than dispersing Opie’s works throughout the galleries, the design reconstitutes the Gallery itself within the exhibition, creating “rooms within rooms” that allow for a direct encounter with both the formalities of portraiture and the politics of identity.
This architectural framework organizes the show as a sequence of square and rectilinear spaces threaded by enfilade views, recalling the classical rhythm of museum galleries while simultaneously misaligning their axes. This subtle displacement reframes familiar conventions through the lens of queerness—introducing moments of defamiliarization within a recognizably traditional setting. The first rooms stage Opie’s most radical and political works within formal containers, while later spaces blur distinctions between portrait and landscape, the personal and the collective.
Catherine Opie: To Be Seen
5 March, 2026 - 31 May 2026
National Portrait Gallery
St. Martin’s Place
London, WC2H 0HE
Now Open: Catherine Opie: To Be Seen, Exhibition Design by Katy Barkan of Now Here, at The National Portrait Gallery
@nownowherehere
@katy.barkan
Room with Rooms stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution
The exhibition, curated in collaboration with the artist, is the first major museum exhibition of her work in the UK. The exhibition design, designed by Katy Barkan of Now Here stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution. Rather than dispersing Opie’s works throughout the galleries, the design reconstitutes the Gallery itself within the exhibition, creating “rooms within rooms” that allow for a direct encounter with both the formalities of portraiture and the politics of identity.
This architectural framework organizes the show as a sequence of square and rectilinear spaces threaded by enfilade views, recalling the classical rhythm of museum galleries while simultaneously misaligning their axes. This subtle displacement reframes familiar conventions through the lens of queerness—introducing moments of defamiliarization within a recognizably traditional setting. The first rooms stage Opie’s most radical and political works within formal containers, while later spaces blur distinctions between portrait and landscape, the personal and the collective.
Catherine Opie: To Be Seen
5 March, 2026 - 31 May 2026
National Portrait Gallery
St. Martin’s Place
London, WC2H 0HE
Now Open: Catherine Opie: To Be Seen, Exhibition Design by Katy Barkan of Now Here, at The National Portrait Gallery
@nownowherehere
@katy.barkan
Room with Rooms stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution
The exhibition, curated in collaboration with the artist, is the first major museum exhibition of her work in the UK. The exhibition design, designed by Katy Barkan of Now Here stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution. Rather than dispersing Opie’s works throughout the galleries, the design reconstitutes the Gallery itself within the exhibition, creating “rooms within rooms” that allow for a direct encounter with both the formalities of portraiture and the politics of identity.
This architectural framework organizes the show as a sequence of square and rectilinear spaces threaded by enfilade views, recalling the classical rhythm of museum galleries while simultaneously misaligning their axes. This subtle displacement reframes familiar conventions through the lens of queerness—introducing moments of defamiliarization within a recognizably traditional setting. The first rooms stage Opie’s most radical and political works within formal containers, while later spaces blur distinctions between portrait and landscape, the personal and the collective.
Catherine Opie: To Be Seen
5 March, 2026 - 31 May 2026
National Portrait Gallery
St. Martin’s Place
London, WC2H 0HE
Now Open: Catherine Opie: To Be Seen, Exhibition Design by Katy Barkan of Now Here, at The National Portrait Gallery
@nownowherehere
@katy.barkan
Room with Rooms stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution
The exhibition, curated in collaboration with the artist, is the first major museum exhibition of her work in the UK. The exhibition design, designed by Katy Barkan of Now Here stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution. Rather than dispersing Opie’s works throughout the galleries, the design reconstitutes the Gallery itself within the exhibition, creating “rooms within rooms” that allow for a direct encounter with both the formalities of portraiture and the politics of identity.
This architectural framework organizes the show as a sequence of square and rectilinear spaces threaded by enfilade views, recalling the classical rhythm of museum galleries while simultaneously misaligning their axes. This subtle displacement reframes familiar conventions through the lens of queerness—introducing moments of defamiliarization within a recognizably traditional setting. The first rooms stage Opie’s most radical and political works within formal containers, while later spaces blur distinctions between portrait and landscape, the personal and the collective.
Catherine Opie: To Be Seen
5 March, 2026 - 31 May 2026
National Portrait Gallery
St. Martin’s Place
London, WC2H 0HE
Now Open: Catherine Opie: To Be Seen, Exhibition Design by Katy Barkan of Now Here, at The National Portrait Gallery
@nownowherehere
@katy.barkan
Room with Rooms stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution
The exhibition, curated in collaboration with the artist, is the first major museum exhibition of her work in the UK. The exhibition design, designed by Katy Barkan of Now Here stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution. Rather than dispersing Opie’s works throughout the galleries, the design reconstitutes the Gallery itself within the exhibition, creating “rooms within rooms” that allow for a direct encounter with both the formalities of portraiture and the politics of identity.
This architectural framework organizes the show as a sequence of square and rectilinear spaces threaded by enfilade views, recalling the classical rhythm of museum galleries while simultaneously misaligning their axes. This subtle displacement reframes familiar conventions through the lens of queerness—introducing moments of defamiliarization within a recognizably traditional setting. The first rooms stage Opie’s most radical and political works within formal containers, while later spaces blur distinctions between portrait and landscape, the personal and the collective.
Catherine Opie: To Be Seen
5 March, 2026 - 31 May 2026
National Portrait Gallery
St. Martin’s Place
London, WC2H 0HE
Now Open: Catherine Opie: To Be Seen, Exhibition Design by Katy Barkan of Now Here, at The National Portrait Gallery
@nownowherehere
@katy.barkan
Room with Rooms stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution
The exhibition, curated in collaboration with the artist, is the first major museum exhibition of her work in the UK. The exhibition design, designed by Katy Barkan of Now Here stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution. Rather than dispersing Opie’s works throughout the galleries, the design reconstitutes the Gallery itself within the exhibition, creating “rooms within rooms” that allow for a direct encounter with both the formalities of portraiture and the politics of identity.
This architectural framework organizes the show as a sequence of square and rectilinear spaces threaded by enfilade views, recalling the classical rhythm of museum galleries while simultaneously misaligning their axes. This subtle displacement reframes familiar conventions through the lens of queerness—introducing moments of defamiliarization within a recognizably traditional setting. The first rooms stage Opie’s most radical and political works within formal containers, while later spaces blur distinctions between portrait and landscape, the personal and the collective.
Catherine Opie: To Be Seen
5 March, 2026 - 31 May 2026
National Portrait Gallery
St. Martin’s Place
London, WC2H 0HE
Now Open: Catherine Opie: To Be Seen, Exhibition Design by Katy Barkan of Now Here, at The National Portrait Gallery
@nownowherehere
@katy.barkan
Room with Rooms stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution
The exhibition, curated in collaboration with the artist, is the first major museum exhibition of her work in the UK. The exhibition design, designed by Katy Barkan of Now Here stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution. Rather than dispersing Opie’s works throughout the galleries, the design reconstitutes the Gallery itself within the exhibition, creating “rooms within rooms” that allow for a direct encounter with both the formalities of portraiture and the politics of identity.
This architectural framework organizes the show as a sequence of square and rectilinear spaces threaded by enfilade views, recalling the classical rhythm of museum galleries while simultaneously misaligning their axes. This subtle displacement reframes familiar conventions through the lens of queerness—introducing moments of defamiliarization within a recognizably traditional setting. The first rooms stage Opie’s most radical and political works within formal containers, while later spaces blur distinctions between portrait and landscape, the personal and the collective.
Catherine Opie: To Be Seen
5 March, 2026 - 31 May 2026
National Portrait Gallery
St. Martin’s Place
London, WC2H 0HE
Now Open: Catherine Opie: To Be Seen, Exhibition Design by Katy Barkan of Now Here, at The National Portrait Gallery
@nownowherehere
@katy.barkan
Room with Rooms stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution
The exhibition, curated in collaboration with the artist, is the first major museum exhibition of her work in the UK. The exhibition design, designed by Katy Barkan of Now Here stages a dialogue between Catherine Opie’s expansive portrait practice and the long history of portraiture housed within the institution. Rather than dispersing Opie’s works throughout the galleries, the design reconstitutes the Gallery itself within the exhibition, creating “rooms within rooms” that allow for a direct encounter with both the formalities of portraiture and the politics of identity.
This architectural framework organizes the show as a sequence of square and rectilinear spaces threaded by enfilade views, recalling the classical rhythm of museum galleries while simultaneously misaligning their axes. This subtle displacement reframes familiar conventions through the lens of queerness—introducing moments of defamiliarization within a recognizably traditional setting. The first rooms stage Opie’s most radical and political works within formal containers, while later spaces blur distinctions between portrait and landscape, the personal and the collective.
Catherine Opie: To Be Seen
5 March, 2026 - 31 May 2026
National Portrait Gallery
St. Martin’s Place
London, WC2H 0HE
Caught a couple of days of @matterandshape with wonderful programming by @danthawley
Some favorites tagged in photo
Caught a couple of days of @matterandshape with wonderful programming by @danthawley
Some favorites tagged in photo
Caught a couple of days of @matterandshape with wonderful programming by @danthawley
Some favorites tagged in photo
Caught a couple of days of @matterandshape with wonderful programming by @danthawley
Some favorites tagged in photo
Caught a couple of days of @matterandshape with wonderful programming by @danthawley
Some favorites tagged in photo
Caught a couple of days of @matterandshape with wonderful programming by @danthawley
Some favorites tagged in photo
Caught a couple of days of @matterandshape with wonderful programming by @danthawley
Some favorites tagged in photo
Caught a couple of days of @matterandshape with wonderful programming by @danthawley
Some favorites tagged in photo
Caught a couple of days of @matterandshape with wonderful programming by @danthawley
Some favorites tagged in photo
Caught a couple of days of @matterandshape with wonderful programming by @danthawley
Some favorites tagged in photo
Caught a couple of days of @matterandshape with wonderful programming by @danthawley
Some favorites tagged in photo
Caught a couple of days of @matterandshape with wonderful programming by @danthawley
Some favorites tagged in photo
Caught a couple of days of @matterandshape with wonderful programming by @danthawley
Some favorites tagged in photo
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
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Explore IG Stories Privately
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Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.