On loan from various local private collections and the artist’s gallery, these works highlight the broad material and conceptual scope of Genzken's practice.

As part of the celebration of Genzken’s designation as the recipient of the Nasher Prize, the Nasher Sculpture Center presents three sculptures by the Laureate. While representing only a small part of the artist’s diverse body of work, which includes sculpture, photography, filmmaking, painting, drawing, and collage, each object illuminates key moments in Genzken’s four-decades long practice. Both Door (Tür) and Hallelujah (New Museum) underscore the artist’s long-standing interest in architecture, while the untitled sculpture from 2006 signals a turn in Genzken’s practice to focus on the figure and, crucially, assemblage—what critic and art historian Roberta Smith described as “the central, most robust aesthetic of our time.” All three objects reference history, popular culture, optimism, and decline, and displayed together reveal contemporary realism as the through line of Genzken’s practice.