Richard Serra
(1938, San Francisco – 2024, Orient, New York)
Junction

Weathering steel
2011
You are now in the hall dedicated to Richard Serra — one of the most influential sculptors of our time. Junction, made of eight steel plates weighing 155 tons, was the last major sculpture he allowed to be installed in a new location before his passing in 2024.
You are now in the hall dedicated to the American artist Richard Serra — one of the most influential sculptors of our time.
Serra transformed how we experience space. His works are not meant to be viewed from a distance. They draw you in — around and inside — so that your own movement completes the piece.
The sculpture before you, Junction from 2011, is made of eight steel plates, each more than four meters high, weighing a total of 155 tons. Yet despite the weight, the space inside feels open, with voices and footsteps echoing lightly.
Serra's works are deeply connected to their sites and can only be relocated with the artist's permission. Junction was the last major sculpture he allowed to be installed in a new location, our museum, before his passing in 2024.
This hall was designed especially for the piece. As daylight shifts, the sculpture changes character: heavy and somber at one moment, light and open the next. Walk inside Junction, listen to your footsteps, and notice how the space responds to your movement. If you climb the grand staircase in the Art Street, you can also view the work from above, from a bird's eye view.
A year before completing the sculpture, Richard Serra created a series of etchings with the same title, exploring an "X-shaped" form that anticipates this sculpture. Junction therefore exists in two forms — a print and monumental installation — showing how a single idea can expand across different media and scales.


Exhibition guide

Almagul Menlibayeva
People and Animals, 1997

Exhibition guide

Almagul Menlibayeva
Little Gods from My Mother’s Dress, 1995
This retrospective not only celebrates the diversity and depth of Menlibayeva’s artistic expression but also highlights how her practice embodies her own identity, which is deeply intertwined with Kazakhstan’s complex history and transformation from a site of nomadism to one of often forced settlement, as well as her re-imagining of possible futures.
The exhibition unpacks how the artist tries to understand her own roots, socio-political, cultural, and economic, as well as the geo-political situation in Kazakhstan through her multifaceted artistic projects.
Curator Gridthiya Gaweewong
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