Adam Pendleton Brings Black Dada Into the Stedelijk’s Historic Spaces
Adam Pendleton Brings Black Dada Into the Stedelijk’s Historic Spaces
The Amsterdam exhibition gathers eleven paintings and eight large-scale drawings, turning abstraction into a conversation about language, architecture and who shapes art history.
Adam Pendleton’s Some Wild Kind of Language opened at Amsterdam’s Stedelijk Museum on October 10. Running through January 17, 2027, the exhibition brings eleven paintings and eight large-scale drawings into a museum where the setting becomes part of the conversation.
The new presentation places Pendleton’s layered approach to abstraction inside the Stedelijk’s historic spaces. Many of the works are newly made, and the installation transforms the central staircase’s white interior into a black environment. Those choices give the exhibition a presence beyond the edges of individual canvases. The architecture helps establish how the work is encountered, and how the viewer moves between images, marks and fragments of language. See the exhibition overview at designboom.
The Futurists: Adam Pendleton and Yana Peel. Official CHANEL conversation from 2025, included as background on the artist’s practice.
Black Dada keeps the possibilities open
Pendleton’s work can begin with something as familiar as a letter, a shape or a painted gesture. Its force comes from what happens when those elements are repeated, interrupted and placed beside one another. A word can remain readable while also becoming a visual rhythm. A splatter can look spontaneous while belonging to a carefully developed process.
The Isabella Stewart Gardner Museum describes a practice that moves among silkscreen, installation, performance, sculpture and text. Found imagery and language are pulled into new relationships, allowing cultural and political references to shift as viewers encounter them. That movement between reading and looking offers a useful way into the Amsterdam show: give the surfaces time before deciding what they mean. Read the Gardner Museum’s artist profile.
Black Dada is the framework connecting much of this work. The MIT List Visual Arts Center traces its development to 2008 and identifies Amiri Baraka’s 1964 poem Black Dada Nihilismus as an important point of inspiration. The connection puts Pendleton’s abstraction in dialogue with Black literary and cultural history. It also makes room for questions that exceed a single image or slogan. Explore MIT’s account of the artist’s practice.
The work continues beyond one room
In an October 10 interview with Wallpaper*, Pendleton discusses making as a physical practice informed by training, instinct and repetition. The interview also describes a process in which marks on paper are photographed and layered onto canvas through screen printing. That sequence helps explain why his paintings can hold the energy of a gesture while feeling constructed across several stages. Read the interview.
For viewers following his work from the United States, another substantial presentation remains accessible. Adam Pendleton: Love, Queen is scheduled at the Smithsonian’s Hirshhorn Museum and Sculpture Garden in Washington, D.C., through January 3, 2027. The Smithsonian describes an exhibition of new and recent paintings with a single-channel video work, conceived in relation to the museum’s architecture and the history of the National Mall. Find the Hirshhorn announcement.
The two exhibitions offer a reason to think about the museum as an active setting. A painting’s scale, the color around it and the route into a gallery can all influence the encounter. For readers accustomed to seeing art as a small image on a phone, Pendleton’s attention to space is a reminder to consider what the screen leaves out.
Watch the artist discuss his process
CHANEL’s official conversation The Futurists pairs Pendleton with Yana Peel for a discussion of art, technology and the artist’s wider practice. They consider his exhibitions and his involvement in preserving Nina Simone’s childhood home. The 2025 conversation supplies background for the new Amsterdam show; it is not footage of that exhibition. Watch the official CHANEL conversation.
Some Wild Kind of Language gives October’s exhibition calendar a fresh opportunity to spend time with a painter whose work rewards attention. Start with a mark, follow its repetitions, and let the larger space enter the picture.
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Adam Pendleton’s Some Wild Kind of Language opened at Amsterdam’s Stedelijk Museum on October 10. Running through January 17, 2027, the exhibition brings eleven paintings and eight large-scale drawings into a museum where the setting becomes part of the conversation.