A transformed police headquarters at 955 Boylston Street becomes the ICA’s new home for the next 33 years.
A transformed police headquarters at 955 Boylston Street becomes the ICA’s new home for the next 33 years.
The ICA moves to 137 Newbury Street.
With the exhibition Monumental Sculpture for Public Spaces, the ICA brings art into the public arena. Outdoor sculptural interventions by Alexander Calder, Donald Judd, Robert Morris, Louise Nevelson, Claes Oldenburg, Mark di Suvero, and others spring up around the city. At City Hall Plaza, Robert Indiana erects a 12-foot-high steel version of his iconic work LOVE.
Parkman House at 33 Beacon Street becomes the ICA’s new temporary home.
The ICA returns to 1175 Soldiers Field Road.
Andrew Hyde is appointed director and serves in that position until 1974, with a one-year interlude (1971–72) during which artist Christopher Cook leads the organization, with a focus on conceptual art.
The Museum of Contemporary Art, Chicago is founded.
The ICA organizes the second museum exhibition dedicated to Andy Warhol, with nearly 40 iconic works—soon to become touchstones of 20th-century art history—as well as staging a performance of the landmark intermedia work Exploding Plastic Inevitable by Warhol and the Velvet Underground.
London: The New Scene, organized by the Walker Art Center, is one of the earliest exhibitions to introduce U.S. audiences to the work of Bridget Riley.
At an early moment in the history of electronic media and video art, Art Turned On brings together some of its leading pioneers, including Dan Flavin, Robert Whitman, and Fluxus artists Ay-O and Joe Jones. Marcel Duchamp attends the exhibition and takes a special interest in Jones’s Music Plant.
Received ideas about mark-making, gesture, and authorship come under scrutiny in Painting Without a Brush, presenting works by Helen Frankenthaler, Morris Louis, Jackson Pollock, Jean Tinguely, and Andy Warhol, among others.