Today marks the final opportunity for art enthusiasts to experience two acclaimed exhibitions that have spotlighted diverse voices and artistic innovation in American museums this summer. In New York, the Museum of Modern Art (MoMA) wraps up its landmark exhibition Feeling Color: Aubrey Williams and Frank Bowling, while in Connecticut, the University of Connecticut’s William Benton Museum of Art hosts the closing day of the Connecticut Women Artists (CWA) National Open Juried Exhibition.
Feeling Color, curated by María Elena Ortiz, has been a major draw at MoMA since its opening four months ago. The exhibition is the first to present the works of Aubrey Williams and Frank Bowling side by side, inviting visitors to explore the parallels and contrasts in their abstract use of color, texture, and form. Both artists—Caribbean-born and active primarily in the United Kingdom—were instrumental in expanding the narrative of modernist abstraction beyond its Euro-American boundaries.
The curatorial approach positioned Williams and Bowling not only as masters of their craft, but also as critical voices who engaged with postcolonial identity, diaspora, and the politics of visibility through their abstract vocabularies. Williams’ work, with its cosmic themes and expressive brushwork, complemented Bowling’s layered, map-like canvases, which often blended personal geography with painterly experimentation.
Critics have praised the exhibition for its historical depth and contemporary relevance. Artforum called it “a rare and overdue dialogue between two giants of color abstraction,” while the New York Times highlighted its success in “redefining abstraction through a diasporic lens.”
Meanwhile, at the William Benton Museum of Art in Storrs, Connecticut, the 2025 CWA National Open Juried Exhibition also concludes today. This annual show, organized by Connecticut Women Artists, Inc., celebrates excellence in women’s visual art across the country. Running since May 27, the juried exhibition included a wide array of media, from sculpture and printmaking to mixed-media installations and photography.
Selected by a panel of professional artists and curators, the exhibition featured both emerging and established voices. It offered a compelling snapshot of the creative breadth among women artists working in the United States today. Many of the works addressed contemporary social issues, personal identity, and environmental concerns, reinforcing the powerful role of art in public discourse.
The show is part of a broader push by the CWA to expand representation and visibility for women artists, who have historically faced systemic barriers to recognition in the art world. Established in 1929, the organization remains one of the longest-running groups dedicated to supporting women in the visual arts.
This year’s iteration drew record submissions and included artists from over 20 states, further emphasizing the national scope and impact of the exhibition. Museum visitors have noted its diverse perspectives and innovative techniques, with several works already acquired by collectors and regional galleries.
Together, these two exhibitions represent a growing commitment among American art institutions to prioritize inclusive programming and highlight underrepresented artists. As museums continue to reflect on their curatorial strategies in the post-pandemic era, shows like Feeling Color and the CWA Juried Exhibition demonstrate how thoughtful, equity-focused curation can broaden public engagement and historical understanding.
As these exhibitions close, many in the art community are hopeful that their momentum will carry forward into future programming. “We’re seeing a powerful shift in how institutions are thinking about narrative, access, and excellence,” said an arts administrator in New York. “These shows set a high bar for what meaningful representation in the arts can look like.”