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This comprehensive survey exhibition traces artist David McGee’s (b. 1962, Bernice, Louisiana) career from the early 1990s to the present, featuring more than 100 paintings and works on paper—including rarely exhibited early work, large-scale figurative and abstract paintings, text-based works on paper, and selections from his most recent series.
David McGee, Dalí from Ready Made Africans series, 2015, Watercolor on paper, 30 x 22 inches. Collection of Poppi Massey. Photo by Jake Eshelman.
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Chakaia Booker: Weighted Balance
November 15, 2025 – June 1, 2026
Chakaia Booker: Weighted Balance presents works by American artist Chakaia Booker (born 1953), who for more than four decades has transformed discarded industrial materials into striking abstractions. Best known for her use of salvaged rubber tires, Booker slices, twists, and weaves this everyday material into sculptural forms that speak to resilience, regeneration, and change.
The sculptures and wall reliefs on view highlight Booker’s innovative approach to form, texture, and movement, merging influences from African textile traditions, modernist assemblage, and the physicality of labor. Her work reflects on cycles of industry, sustainability, and renewal, themes that resonate with Charlotte’s own manufacturing history.
In the museum’s lobby, Booker’s tapestry Pause (2023) extends her sculptural language into woven form, translating her signature energy and material experimentation into a new medium that underscores her ongoing dialogue between material, process, and transformation.
Chakaia Booker, Optical Illusion, 2021, rubber tires and wood, 64 x 34 x 16 in. Courtesy of the artist and David Nolan Gallery, New York.
Hansjürg Brunner: The Trial
November 15, 2025 – June 1, 2026
This exhibition presents The Trial (Der Prozess) (1963–64), a portfolio of forty-five linocut prints by Swiss artist Hansjürg Brunner (1933–1998), created as illustrations for Franz Kafka’s novel of the same name. In Kafka’s story, a man is arrested and prosecuted by an unidentified authority for an unspecified crime, without explanation or due process.
Brunner’s sharply carved figures, bold lines, and compressed spaces capture the psychological intensity and disorienting atmosphere of Kafka’s narrative, emphasizing the alienation and struggle for agency at the heart of the text. The series reflects Brunner’s deep engagement with literature, social critique, and the human condition, translating Kafka’s words into a haunting visual language.
Brunner’s linocuts resonate across time, linking early twentieth-century expressionist printmaking with the cultural climate of postwar Europe. This presentation offers a rare chance to view The Trial in its entirety—a striking meditation on authority and justice that continues to feel urgent and compelling today.
Hansjürg Brunner, In the Courtroom from The Trial portfolio, 1963-64, linocut on paper, 12 1⁄2 x 8 1⁄4 in.© Emanuel Brunner / Switzerland. Collection of Bechtler Museum of Modern Art, 2003.0609A.7.
