Grounded in a critique of property, American artist Cameron Rowland’s practice centers on the material operations of racial capitalism that order everyday life. Rowland’s ongoing engagement with Dia includes the extended loan of their 2018 artwork titled Depreciation—comprising a restrictive covenant and one acre of land on Edisto Island to Dia—and a sustained review of the institution’s history of real estate transactions. Rowland’s exhibition examines the violently dispossessive imperative of property, the history of properties owned by Dia, and the legacies of black practice that preclude propertization.

Cameron Rowland has exhibited broadly in the United States and internationally, with recent solo exhibitions as Museum für Moderne Kunst, Frankfurt, Germany (2023); Institute of Contemporary Arts, London; and Museum of Contemporary Art, Los Angeles (2018). Rowland has participated in recent group presentations at National Gallery of Art, Washington, DC; Carnegie Museum of Art, Pittsburgh; New Museum, New York; The Museum of Modern Art, New York; Institute of Contemporary Art, Philadelphia; Kunstmuseum Basel, Basel, Switzerland; The Museum of Fine Arts, Houston, Texas; and elsewhere. They were awarded a MacArthur Fellowship in 2019. Rowland lives and works in New York.

Jordan Carter joined Dia Art Foundation as curator in 2021. At Dia, he has curated exhibitions including stanley brouwn (2023) and an upcoming exhibition of new work by Tony Cokes. He works closely on the preservation of and programming around Dia’s permanent installations, including Robert Smithson’s Spiral Jetty (1970) and Nancy Holt’s Sun Tunnels (1973–76), both located in Utah. He previously served as the associate curator of modern and contemporary art at the Art Institute of Chicago. In his time at the Art Institute of Chicago, Carter curated and cocurated numerous exhibitions including Mounira Al Solh: I strongly believe in our right to be frivolous (2018); Ellen Gallagher: Are We Obsidian? (2018–19); Benjamin Patterson: When Elephants Fight, It Is the Frogs That Suffer—A Sonic Graffiti (2019); Richard Hunt: Scholar’s Rock or Stone of Hope or Love of Bronze (2020–21); Ray Johnson c/o (2021–22); and stanley brouwn (2023).

Dia was founded in 1974 to help artists achieve visionary projects that might not otherwise be realized because of scale or scope. Dia fulfills its mission by commissioning single artist projects, organizing exhibitions, realizing site-specific installations, and collecting in-depth the work of a focused group of artists of the 1960s and 1970s. Today, Dia consists of a constellation of sites in New York, South Carolina, the Southwestern United States, and Germany.