Haegue Yang is the subject of a solo exhibition titled In the Cone of Uncertainty at The Bass Museum of Art (hereafter The Bass), Miami Beach, USA through April 5, 2020. Founded in 1964, the museum was established after the donation of a private collection, and has since been widely recognized for its planning and expertise abilities in exhibitions with international artists. The exhibition presents a selection of Yang’s oeuvre spanning the last decade which employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques—including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper. Taking its title from an expression of the South Florida vernacular that describes the predicted path of hurricanes, this exhibition examines the regional characteristics of Miami Beach, considering that over fifty percent of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Framing the contemporary concerns about climate change, overpopulation, and resource scarcity within a broader consideration of movement, displacement, and migration, Yang explores current anxieties through her unique artistic practice for this exhibition.

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and staircase. A commissioned site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’s two floors Coordinates of Speculative Solidarity (2019) plays with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity. Strange Fruit (2012-2013), taking its title from the Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939, is a group of anthropomorphic sculptures combined with hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls. This work illuminates unlikely, lesser-known connections throughout history by connecting unrelated objects. The exhibition also features two major large-scale installations made of venetian blinds titled Yearning Melancholy Red (2008), referring to the childhood of Marguerite Duras (1914-1996), and Red and Red Broken Mountainous Labyrinth (2008), bearing a story of a chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997). Also on view is a major installation from the Sonic Sculptures series titled Boxing Ballet (2013/2015). 

Outside of The Bass, Haegue Yang participates in a group exhibition titled ARTS ⇆ CRAFTS: Between tradition, discourse and technologies at Kunsthaus Graz, Austria, through February 16, 2020. This exhibition navigates new possibilities of crafts that mediate contemporary art, craftsmanship, and new technologies, and at the same time blurs boundaries between crafts versus art. For the exhibition, Haegue Yang presents her signature artificial straw series titled The Intermediates.