East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Big, bold, and beautiful, Color as Field: American Painting 1950-1975 is the first full-scale examination of sources, meaning, and impact of the Color Field movement, one of the crowning achievements of postwar American abstract art. The exhibition includes work by Gene Davis, Helen Frankenthaler, Morris Louis, Kenneth Noland, Jules Olitski, Larry Poons, and Frank Stella. With forty beautiful and impressively scaled paintings, the exhibition explores the motivations of these artists and allows the visitor to view their finest works in close relation to each other.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Big, bold, and beautiful, Color as Field: American Painting 1950-1975 is the first full-scale examination of sources, meaning, and impact of the Color Field movement, one of the crowning achievements of postwar American abstract art. The exhibition includes work by Gene Davis, Helen Frankenthaler, Morris Louis, Kenneth Noland, Jules Olitski, Larry Poons, and Frank Stella. With forty beautiful and impressively scaled paintings, the exhibition explores the motivations of these artists and allows the visitor to view their finest works in close relation to each other.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Big, bold, and beautiful, Color as Field: American Painting 1950-1975 is the first full-scale examination of sources, meaning, and impact of the Color Field movement, one of the crowning achievements of postwar American abstract art. The exhibition includes work by Gene Davis, Helen Frankenthaler, Morris Louis, Kenneth Noland, Jules Olitski, Larry Poons, and Frank Stella. With forty beautiful and impressively scaled paintings, the exhibition explores the motivations of these artists and allows the visitor to view their finest works in close relation to each other.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Big, bold, and beautiful, Color as Field: American Painting 1950-1975 is the first full-scale examination of sources, meaning, and impact of the Color Field movement, one of the crowning achievements of postwar American abstract art. The exhibition includes work by Gene Davis, Helen Frankenthaler, Morris Louis, Kenneth Noland, Jules Olitski, Larry Poons, and Frank Stella. With forty beautiful and impressively scaled paintings, the exhibition explores the motivations of these artists and allows the visitor to view their finest works in close relation to each other.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Big, bold, and beautiful, Color as Field: American Painting 1950-1975 is the first full-scale examination of sources, meaning, and impact of the Color Field movement, one of the crowning achievements of postwar American abstract art. The exhibition includes work by Gene Davis, Helen Frankenthaler, Morris Louis, Kenneth Noland, Jules Olitski, Larry Poons, and Frank Stella. With forty beautiful and impressively scaled paintings, the exhibition explores the motivations of these artists and allows the visitor to view their finest works in close relation to each other.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Big, bold, and beautiful, Color as Field: American Painting 1950-1975 is the first full-scale examination of sources, meaning, and impact of the Color Field movement, one of the crowning achievements of postwar American abstract art. The exhibition includes work by Gene Davis, Helen Frankenthaler, Morris Louis, Kenneth Noland, Jules Olitski, Larry Poons, and Frank Stella. With forty beautiful and impressively scaled paintings, the exhibition explores the motivations of these artists and allows the visitor to view their finest works in close relation to each other.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

Folger Poetry Board Reading Lucille Clifton

For the annual Folger Poetry Board Reading, a distinguished poet shares favorite poems by other poets in addition to reading from his or her own work. This year's reader is Lucille Clifton, whose poetry binds deceptively simple language with an emotional punch. Sagacious, funny, downright subversive, her poems have spoken to generations ever since the 1969 debut of her first book, Good Times.

Readings include a moderated conversation, light-fare reception, and book sale and signing.

Call 202.544.7077 for more information.

Admission: Tickets are $12.00 each or $80.00 for a season subscription.

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

Washington, D.C, is the only east coast city to host this landmark exhibition

"Color as Field: American Painting, 1950–1975," on view at the Smithsonian American Art Museum Feb. 29 through May 26, is the first full-scale exhibition to examine the sources, meaning and impact of the Color Field movement. Paintings from this period constitute one of the crowning achievements of postwar American abstract art. "Color as Field," organized by the American Federation of Arts, offers an opportunity to re-evaluate this important aspect of 20th-century painting.

Color Field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, spraying or painting thinned paint onto raw canvas to create vast chromatic expanses. The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. "Color as Field" presents a remarkable opportunity for viewers to fully comprehend the aims of these artists, view their finest works in close relation to each other and experience the beauty and visual magnetism of their handling of space and color. Karen Wilkin, a specialist in 20th-century modernism who has published widely on this period, is the curator of the exhibition; Joanna Marsh, The James Dicke curator of contemporary art at the museum, is the coordinating curator in Washington

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free

East meets West in this exciting exhibition of prints by Chiura Obata, one of the earliest Japanese artists to live and work in the United States. Born in Japan in 1885, Obata moved to San Francisco in 1903. He visited Yosemite National Park and the Sierra Nevada in 1927 and recalled the visit as "the greatest harvest for my whole life and future in painting." Obata transformed some of the numerous watercolors and sketches made on his trip into a series of intricate woodblock prints, some requiring more than 150 separate working proofs. The prints resemble watercolors, with lines like brush strokes and delicately layered color. This exhibition is the first time these prints have been publicly displayed on the East Coast.

Call 202.633.8490 for more information.

Admission: Free