Skip to content
Back to top Back to Artists«

Nancy Grossman (b.1940)


1 of 12
Ray Charles, 1961 graphite on paper 14 x 14 inches...

Ray Charles, 1961
graphite on paper
14 x 14 inches / 35.6 x 35.6 cm
signed

Untitled, 1962 oil on canvas 24 x 34 inches / 61.0...

Untitled, 1962
oil on canvas
24 x 34 inches / 61.0 x 86.4 cm
signed

Black Landscape, 1964 mixed media assemblage on ca...

Black Landscape, 1964
mixed media assemblage on canvas mounted to plywood
49 7/8 x 38 7/8 x 3 1/2 inches, with artist’s frame
signed and dated

Clatter Machine-Figure with Step-Up Forms (aka Bee...

Clatter Machine-Figure with Step-Up Forms (aka Beever Slats), 1965
black ink on paper
16 3/4 x 13 7/8 inches (sheet size)
16 3/8 x 13 3/8 inches (sight size), signed and dated

Purple Glass, 1966 mixed media assemblage on canva...

Purple Glass, 1966
mixed media assemblage on canvas mounted on plywood
49 1/4 x 37 1/2 x 6 inches, with artist’s frame
signed and dated

Untitled, 1966 black ink on paper 16 3/4" x 1...

Untitled, 1966
black ink on paper
16 3/4" x 13 3/4" sheet size
15 3/4" x 12 7/8" sight size, signed and dated

Potawatami, 1967 leather, rubber and metal assembl...

Potawatami, 1967
leather, rubber and metal assemblage on plywood
63 1/8" x 38" x 11 3/4", signed and dated


 

Untitled, 1968 leather, wood, epoxy and metal hard...

Untitled, 1968
leather, wood, epoxy and metal hardware
16 7/8 x 7 1/2 x 8 3/4 inches / 42.9 x 19.1 x 22.2 cm
signed

Figure with Folded Arms, 1973-74 collage of variou...

Figure with Folded Arms, 1973-74
collage of various papers with watercolor on board
48 x 36 inches / 121.9 x 91.4 cm
signed

Untitled, 1976 collage with watercolor on board 48...

Untitled, 1976
collage with watercolor on board
48" x 36", signed and dated

Snake Still-Life with Swimming Pool, 1993 mixed me...

Snake Still-Life with Swimming Pool, 1993
mixed media collage with various papers on Masonite
35 1/4" x 44 5/8", signed

My Terrible Stomach, 1964/2015 assemblage of wood,...

My Terrible Stomach, 1964/2015
assemblage of wood, metal, plastic, rubber and string
86 1/2" x 24 1/2" x 14 1/2", signed and dated


Exhibitions


New & Noteworthy

MRG PRESS RELEASE

MRG PRESS RELEASE

Nancy Grossman: The Edge of Always, Constructions from the 1960s

Download PDF

Intermission Magazine, Fall-Winter 2013-14

Intermission Magazine, Fall-Winter 2013-14

by Alessandra Codinha, photography by Bjarne Jonasson

Download PDF

The New York Times, June 10, 1983

The New York Times, June 10, 1983

by John Russell

Download PDF

MRG PRESS RELEASE

MRG PRESS RELEASE

Nancy Grossman: Combustion Scapes

Download PDF

ArtNews, September 2007

ArtNews, September 2007

by Ann Landi

Download PDF

The New York Sun, June 4, 2007

The New York Sun, June 4, 2007

Download PDF

MRG PRESS RELEASE

MRG PRESS RELEASE

Nancy Grossman: Drawings

Download PDF

Art in America, June 2006

Art in America, June 2006

by Nancy Princenthal

Download PDF

ArtNews, March 2001

ArtNews, March 2001

by Cynthia Nadelman

Download PDF

The New York Times, January 12, 2001

The New York Times, January 12, 2001

by Grace Glueck

Download PDF

NY Arts, December 2000

NY Arts, December 2000

by Stefano Pasquini

Download PDF

The New York Times, May 5, 2000

The New York Times, May 5, 2000

by Roberta Smith

Download PDF

Sculpture Magazine, July-August 1998

Sculpture Magazine, July-August 1998

by Robert C. Morgan

Download PDF

Collezioni Magazine, January 1992

Collezioni Magazine, January 1992

Download PDF

The New York Times, September 27, 1991

The New York Times, September 27, 1991

by Roberta Smith

Download PDF

Arts, June 1978

Arts, June 1978

by Corinne Robins

Download PDF

Art Spectrum, February 1975

Art Spectrum, February 1975

by Corinne Robins

Download PDF

ArtNews, May 1967

ArtNews, May 1967

by R.P.

Download PDF

Arts Magazine, January 1966

Arts Magazine, January 1966

by A.G.

Download PDF

Art Magazine, May1965

Art Magazine, May1965

by W. Berkson

Download PDF

ArtNews, May 1965

ArtNews, May 1965

by R. Brown

Download PDF

New York Herald Tribune, April 3, 1965

New York Herald Tribune, April 3, 1965

Download PDF

The New York Times, February 23, 1964

The New York Times, February 23, 1964

by Brian O’Doherty

Download PDF


Prints & Publications


Artist Information

“[In 1960] I underwent an internal revolution. I no longer felt that I had to please...but knew that I could express myself. I did that through human figures. They were falling from the sky as if falling from grace...or were suspended in fetal positions. I also fell—out of my harness of familial expectations...I fell out of the bondage of being the oldest child with so much responsibility...In between the womb and tomb was fierce strife and anxiety. Any figure not in the fetal position or buried was striving.”[i]

Moving freely between sculpture, painting, drawing, collage and assemblage, Nancy Grossman (b.1940) leads a career that dates back to the early 1960s and has resulted in a prolific body of work that continues to resist categorization. Grossman’s imagery is as wide-ranging as her materials, comprising dyed paper collage portraits of faceless androgyne sitters, abstract relief-assemblages that blur the line separating the biomorphic from the mechanical, freestanding architectonic wooden sculptures, detailed drawings of heroically proportioned figures in various positions of restraint, multi-figure compositions of bodies in various states of motion or tension, and the signature leather-covered life-sized head sculptures for which she first became widely known.

Grossman was born in New York City, where her parents worked in the garment district. When she was five, her family moved to Oneonta, in upstate New York, to live on a working farm with their large extended family. Grossman demonstrated an usually advanced artistic ability early in childhood; by the age of six she exhibited a precocious facility with drawing, and soon began building marionettes for her siblings and sewing clothes for their dolls. In 1950 her family moved their factory to Oneonta, and as a teenager Grossman worked as a “dart and gusset” seamstress, providing her with skills she would later use in her artistic engagement with textiles. Grossman enrolled at Pratt Institute in 1956 with funding from a New York State Regents Scholarship; there she studied under Richard Linder, who would prove to be a formative influence. After graduating with her BFA in 1962, Grossman was awarded the Ida C. Haskell Award for Foreign Travel, which enabled her to spend time in Europe. Upon returning to New York, the young artist expanded her experimentation with nontraditional materials and her explorations of the expressive potential of the human form—pursuits that proved to be at odds with the ascendant media-specificity of minimalism and the detached coolness of Pop. Despite her work’s outlying status, Grossman dedicated herself to developing her nascent style, authoring a vibrant body of collages, paintings and drawings that merged landscape with figuration.

In 1964, at the age of twenty-three, Grossman had her first solo exhibition at Krasner Gallery; comprising collages, drawings, paintings, and assemblages, the exhibition was well-received, and the gallery presented three more solo shows of her work over the next three years. Working out of her large studio in Chinatown, Grossman continued to create and exhibit work throughout the decade. Around this time, she was introduced to Romare Bearden through his gallery, Cordier & Ekstrom, as both artists were intensely invested in paper collage and were struggling with the warping of their supports due to the accumulated weight of glue and collage elements adhered to it. Through a process of trial and error, they discovered a way to counterbalance the pull of the materials on the face of the collage by building up weight on the reverse; the collaboration segued into an enduring friendship between the two artists. In 1965, Grossman received a fellowship from the John Simon Guggenheim Foundation, which again allowed her to travel. She also began to develop her totem sculptures, six-foot-high, architectonic assemblage works of found materials that she would continue to create through the 1980s.

In 1969, Cordier & Ekstrom staged Grossman’s first exhibition of the leather-clad head sculptures, propelling her already burgeoning career to a new level of success. To create these works, Grossman begins with a wooden base—the first iterations of the series used wood from discarded telephone poles—which she carves, paints with lacquer, and adorns with a leather sheath embellished with zippers, glass eyes, spikes, or straps. While their size, shape, and features often read as masculine, she refers to them as self-portraits, invoking the mutability of gender and emphasizing the inseparability of art from the experience of the artist. Though the success of the head sculptures constitutes a high point in the artist’s career, the series’ popularity has sometimes threatened to overshadow the rest of Grossman’s art, often due to sensationalized interpretations that read the sculptures exclusively in a sadomasochistic context. However, these works manifest many of the prevailing themes of Grossman’s oeuvre: an embrace of gender ambiguity, an interest in formal contradiction and conflict, a palpable expression of angst in the face of restricting forces; an audacious use of leather and other non-traditional materials, and a rich sensuality arising from the artist’s adept manipulation of the human form.

It was not only Grossman’s breadth of materials but also her technical skill and expressive capacity that captivated curators and critics. In 1971, The New York Times art critic John Canaday declared Grossman to be “the most impressive young American artist I know of.”[i] By 1976, Cordier & Ekstrom had taken on her representation and opened four solo exhibitions of her work. By this time she had developed her iconic “gun-head” motif—a response to the escalating war in Vietnam—as well as her semi-textual, diaristic collage works. She also began applying her dyed paper collage technique, wherein the exhaustively reworked paper stencils used to tailor her leather materials were soaked in various pigments to resemble an eerily skin-like surface. In the early 1990s, Grossman began a series of collage and assemblage works inspired by the Kilauea Volcano in Hawaii that reinvigorated her landscape practice. In the last twenty years, 


[i] Nancy Grossman as quoted in Arlene Raven, Nancy Grossman exh. cat. (Brookville, NY: Hillwood Art Museum, C.W. Post Campus, Long Island University, 1991), 82

 

Grossman has returned to drawing, creating a group of multi-figure compositions that draw on and expound upon themes of past series, with a new emphasis on bodies in motion.

Despite Grossman’s critical notoriety, the public largely failed to grasp the astonishing scope of her work until her first solo museum exhibition at Hillwood Art Museum at Long Island University opened in 1990. Curated by Arlene Raven, the career retrospective allowed audiences to discover her oeuvre’s unusual degree of diversity in materials, techniques, and stylistic approaches. Since then, Grossman’s work has been the subject of numerous museum exhibitions, including MoMA PS1’s solo exhibition of her leather heads in 2011 and the Tang Museum at Skidmore College’s 2012 exhibition Nancy Grossman: Tough Life Diary, a five-decade survey accompanied by a comprehensive monograph. Grossman has also recently been included in numerous important group exhibitions such as Exquisite Corpses: Drawing and Disfiguration at the Museum of Modern Art in New York (2012); America is Hard to See (2015), the inaugural exhibition of the Whitney Museum of American Art’s new building; Human Interest: Portraits from the Whitney’s Collection at the Whitney Museum (2016); Body of Work at the Honolulu Museum of Art (2017); and Delirious: Art at the Limits of Reason, 1950-1980 (2017) and Like Life: Sculpture, Color, and the Body (1300–Now) (2018), both at The Met Breuer location of The Metropolitan Museum of Art in New York.

Most recently, her work was on view in: Art After Stonewall, 1969 to 1989, a traveling exhibition organized by the Columbus Museum of Art, Columbus, OH (2019); Beauty and Bite, Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY (2019); and Strange, Berkeley Art Museum & Pacific Film Archive, University of California (2019). Her work is currently featured in the spotlight installation “War Within, War Without,” part of the permanent collection exhibition Collection 1940s-1970s at the Museum of Modern Art in New York. In 2021, she will be included in NOT I: Throwing Voices (1500 BCE–2020 CE) at the Los Angeles County Museum of Art and Surrealism in American Art at the Centre de la Vielle Charité in Marseille, France.

Throughout her illustrious career, Grossman has been the recipient of many accolades, including a John Simon Guggenheim Fellowship (1965), a National Endowment for the Arts Fellowship (1984), a New York Foundation for the Arts Fellowship (1991), a National Academician Award from the National Academy Museum (1994), a Joan Mitchell Foundation Grant (1996–97), a Pollock-Krasner Foundation Grant (2001), and a Women’s Caucus for Art Lifetime Achievement Award (2008).

Grossman’s work is represented numerous museum collections worldwide including the Ackland Art Museum, The University of North Carolina at Chapel Hill, NC; Akron Art Museum, OH; Aldrich Museum of Contemporary Art, Ridgefield, CT; Arkansas Museum of Fine Arts, Little Rock; Art Institute of Chicago, IL; Baltimore Museum of Art, MD; Berkeley Art Museum, University of California; Bowdoin College Museum of Art, Brunswick, ME; Brooklyn Museum of Art, Brooklyn, NY; Museum Boymans Von Beuningen, Rotterdam, Holland; Cleveland Center for Contemporary Art, OH; Columbus Museum of Art, Columbus, GA; Columbus Museum of Art, Columbus, OH; Crystal Bridges Museum of American Art, Bentonville, AR; Dallas Museum of Fine Arts, TX; Fogg Art Museum, Harvard Art Museums, Cambridge, MA; Frances Young Tang Museum, Skidmore College, Saratoga Springs, NY; Georgia Museum of Art, University of Georgia, Athens, GA; Hamline University, St. Paul, MN; Hammer Museum, University of California, Los Angeles; Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC; Hofstra University Museum, Hempstead, NY; Honolulu Museum of Art, HI; Israel Museum, Jerusalem; Jule Collins Smith Museum of Fine Art, Auburn University, Auburn, AL; Krannert Art Museum, University of Illinois, Champagne, IL; Kutztown State College, Kutztown, PA; La Medusa, Rome, Italy; Los Angeles County Museum of Art, Los Angeles, CA; The Menil Collection, Houston, TX; The Metropolitan Museum of Art, New York, NY; Museum of Fine Arts, Boston, MA; Museum of Modern Art, New York, NY; Museum of St. Paul, St. Paul, MN; Nasher Sculpture Center, Dallas, TX; National Academy Museum of Art, New York, NY; National Galleries of Scotland, Edinburgh, United Kingdom; Pennsylvania Academy of Fine Arts, Philadelphia; Phoenix Museum of Art, Phoenix, AZ; Princeton University Art Museum, Princeton, NJ; Rice University Art Museum, Houston, TX; Saint Louis Art Museum, Saint Louis, MO; Scottish National Gallery of Modern Art, Edinburgh, Scotland; Smith College Museum of Art, Northampton, MA; Smithsonian American Art Museum, Washington, DC; Tel Aviv Art Museum, Tel Aviv, Israel; University of California, Berkeley, CA; University of Michigan, Ann Arbor, MI; University Museum, Berkley, CA; University Museum, Tucson, AZ; Virginia Museum of Fine Arts, Richmond, VA; Weatherspoon Art Museum, The University of North Carolina at Greensboro, NC; The Whitney Museum of American Art, New York, NY; Wichita Art Museum, Wichita, KS; and Yale University Art Gallery, New Haven, CT.

Michael Rosenfeld Gallery has represented Grossman for more than twenty years. In 2014, the gallery presented our fourth solo exhibition for the artist, Nancy Grossman: The Edge of Always, Constructions from the 1960s, which was awarded Best Show in a Commercial Space in New York by the International Art Critics Association of America.

Grossman lives and works in Brooklyn, NY.

Michael Rosenfeld Gallery LLC is the exclusive representative of Nancy Grossman.


[i] John Canaday, “The Least Cruel Artist Alive,” The New York Times, November 28, 1971

 

1962      B.F.A., Pratt Institute, New York, NY  

SELECTED PUBLIC COLLECTIONS

Ackland Art Museum, The University of North Carolina at Chapel Hill, Chapel Hill, NC
Akron Art Museum, Akron, OH
Aldrich Museum of Contemporary Art, Ridgefield, CT
Arkansas Museum of Fine Arts, Little Rock, AR
Art Institute of Chicago, Chicago, IL
Baltimore Museum of Art, Baltimore, MD
Berkeley Art Museum, University of California, Berkeley, CA
Bowdoin College Museum of Art, Bowdoin College, Brunswick, ME
Brooklyn Museum of Art, Brooklyn, NY
Museum Boymans Von Beuningen, Rotterdam, Holland
Cleveland Center for Contemporary Art, Cleveland, OH
Columbus Museum of Art, Columbus, GA
Columbus Museum of Art, Columbus, OH
Crystal Bridges Museum of American Art, Bentonville, AR
Dallas Museum of Fine Arts, Dallas, TX
Fogg Art Museum, Harvard Art Museums, Harvard University, Cambridge, MA
Frances Young Tang Museum, Skidmore College, Saratoga Springs, NY
Georgia Museum of Art, University of Georgia, Athens, GA
Hamline University, St. Paul, MN
Hammer Museum, Los Angeles, CA
Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC
Hofstra University Museum, Hempstead, NY
Honolulu Museum of Art, Honolulu, HI
Israel Museum, Jerusalem, Israel
Jule Collins Smith Museum of Fine Art, Auburn University, Auburn, AL
Krannert Art Museum, University of Illinois, Champagne, IL
Kutztown State College, Kutztown, PA
La Medusa, Rome, Italy
Albert Loeb Gallery, Paris, France
Los Angeles County Museum of Art, Los Angeles, CA
The Menil Collection, Houston, TX
The Metropolitan Museum of Art, New York, NY
Museum of Fine Arts, Boston, MA
Museum of Modern Art, New York, NY
Museum of St. Paul, St. Paul, MN
Nasher Sculpture Center, Dallas, TX
National Academy Museum of Art, New York, NY
National Galleries of Scotland, Edinburgh, United Kingdom
Pennsylvania Academy of Fine Arts, Philadelphia, PA
Phoenix Museum of Art, Phoenix, AZ
Princeton University Art Museum, Princeton, NJ
Rice University Art Museum, Houston, TX
Saint Louis Art Museum, Saint Louis, MO
Scottish National Gallery of Modern Art, Edinburgh, Scotland
Smith College Museum of Art, Northampton, MA
Smithsonian American Art Museum, Washington, DC
Tel Aviv Art Museum, Tel Aviv, Israel
University of California, Berkeley, CA
University of Michigan, Ann Arbor, MI
University Museum, Berkley, CA
University Museum, Tucson, AZ
Virginia Museum of Fine Arts, Richmond, VA
Weatherspoon Art Museum, The University of North Carolina at Greensboro (UNC Greensboro), Greensboro, NC
The Whitney Museum of American Art, New York, NY
Wichita Art Museum, Wichita, KS
Yale University Art Gallery, New Haven, CT

1964
Krasner Gallery, New York, NY

1965
Krasner Gallery (March), New York, NY
Krasner Gallery (October), New York, NY

1967
Krasner Gallery, New York, NY

1969
Cordier & Ekstrom Gallery, New York, NY

1971
Nancy Grossman, Cordier & Ekstrom Gallery, New York, NY

1973
Nancy Grossman, Cordier & Ekstrom Gallery, New York, NY

1975
Nancy Grossman: Collage Paintings, Cordier & Ekstrom Gallery, New York, NY

1976
Nancy Grossman: Collages and Pastels, Cordier & Ekstrom Gallery, New York, NY

1978
Church Fine Arts Gallery, University of Nevada at Reno, Reno, NV

1980 
Barbara Gladstone Gallery, New York, NY

1981 
Barbara Gladstone Gallery, New York, NY
Heath Gallery, Atlanta, GA

1982
Barbara Gladstone Gallery, New York, NY

1984
Nancy Grossman, Terry Dintenfass Gallery, New York, NY

1986
Heath Gallery, Atlanta, GA

1988
Nancy Grossman, The Gallery, Fine Arts Hall, Columbus College, Columbus, GA

1990
Nancy Grossman: Retrospective, Hillwood Art Museum, C. W. Post Campus, Long Island University,
Brookville, NY; Sculpture Center, New York, NY; Exit Art, New York, NY; Artemesia and Beacon Street Galleries, Chicago, IL; Arkansas Arts Center, Little Rock, AR; The Contemporary Museum,

1991
Collages, Constructions, Drawings and Sculptures 1965-1990, Exit Art, New York, NY
Collages and Heads 1970-1991, Sculpture Center, New York, NY

1992
Binghamton University Art Museum, State University of New York, Binghamton, NY

1993
Hooks-Epstein Galleries, Houston, TX

1994
Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC
Nancy Grossman: Fire Fields, LedisFlam, New York, NY

1995
Nancy Grossman: Opus Volcanus, Hooks-Epstein Galleries, Houston, TX

2000
Nancy Grossman: Fire Fields, Contemporary Museum at First Hawaiian Center, Honolulu, HI
Nancy Grossman: Loud Whispers, Four Decades of Assemblage, Collage and Sculpture, Michael Rosenfeld Gallery, New York, NY; Greenville County Museum of Art, Greenville, SC; Savannah College of Art and Design, Savannah, GA

2007
Nancy Grossman: Drawings, Michael Rosenfeld Gallery, New York, NY

2011
Nancy Grossman: Heads, MoMA PS-1, New York, NY 
Nancy Grossman: Combustion Scapes, Michael Rosenfeld Gallery LLC, New York, NY

2012
Nancy Grossman: Tough Life Diary, Frances Young Tang Museum, Skidmore College, Saratoga Springs, NY
Nancy Grossman, Marc Selwyn Fine Art, Los Angeles, CA

2014
Nancy Grossman: The Edge of Always, Constructions from the 1960s, Michael Rosenfeld Gallery LLC, New York, NY

2016
Nancy Grossman: The 1960s, Frieze Masters, London, England

2017
Viewing Room: Nancy Grossman, Marlborough Chelsea, New York, NY

1959
Rosequist Gallery, Tucson, AZ

1960
IBM Gallery, New York, NY
Rosequist Gallery, New York, NY

1961
Forty Painters, City Center Gallery, New York, NY
IBM Gallery, New York, NY

1962
Lever House, New York, NY
Krasner Gallery, New York, NY
Staten Island Museum, New York, NY

1963
Pennsylvania Academy of Fine Art, Philadelphia, PA
Krasner Gallery, New York, NY
The Brooklyn Museum, Brooklyn, NY
City Art Museum, St. Louis, MI
28th Biennial of Contemporary American Painting, Corcoran Gallery of Art, Washington, DC

1964
Krasner Gallery, New York, NY

1965
New Acquisitions, Aldrich Museum of Contemporary Art, Ridgefield, CT
Bridge Gallery, New York, NY

1966
Krasner Gallery, New York, NY

1968
1968 Annual Exhibition: Sculpture, Whitney Museum of American Art, New York, NY
8 + 8, Riverside Museum, New York, NY
Cordier & Ekstrom Gallery, New York, NY

1969
Nancy Grossman and Martin Carey, Cordier & Ekstrom Gallery, New York, NY
Highlights of the 1968-1969 Season, Aldrich Museum of Contemporary Art, Ridgefield, CT
Human Concern/Personal Torment: The Grotesque in American Art, Whitney Museum of American Art, New York, NY; University Art Museum, University of California, Berkley, CA
Contemporary American Sculpture, Selection 2, Whitney Museum of American Art, New York, NY

1970
Zeitgenossen, Stadtische Kunsthalle Recklinghausen, Germany
Blocked Metaphors, Cordier & Ekstrom Gallery, New York, NY
January ’70: Contemporary Women Artists, Hawthorne Gallery, Skidmore College, Saratoga Springs, NY
Contemporary Women Artists, The National Arts Club, New York, NY
Painting and Sculpture Today, Indianapolis Museum of Art, Indianapolis, IN
The World of Masks, The Emily Lowe Gallery, Hofstra University, Hempstead, NY

1971
Face Coverings, Museum of Contemporary Crafts of the American Crafts Council, New York, NY

1972
Bestiary, Cordier & Ekstrom, New York, NY
Recent Figure Sculpture, Fogg Art Museum (now Fogg Museum, Harvard Art Museums), Harvard University, Cambridge, MA; Museum of Art (now RISD Museum), Rhode Island School of Design, Providence, RI; Bowdoin College Museum of Art, Bowdoin College, Brunswick, ME: Hopkins Center Art Galleries, Dartmouth College, Hanover, NH; Vassar College Art Gallery (now Frances Lehman Loeb Art Center), Vassar College, Poughkeepsie, NY
Artists’ Benefit for Civil Liberties, Leo Castelli Gallery, New York, NY
Selections from the Aldrich Museum Collection, Aldrich Museum of Contemporary Art, Ridgefield, CT
After Surrealism: Metaphors and Similes, John and Marble Ringling Museum of Art, Sarasota, FL

1973
Biennial Exhibition, Whitney Museum of American Art, New York, NY
The Torso, Andrew Crispo Gallery, New York, NY

1974
Painting and Sculpture Today, Indianapolis Museum of Art, Indianapolis, IN
Contemporary American Sculpture, The Society of the Four Arts, Palm Beach, FL
Invitational Exhibition, American Academy of Arts and Letters/National Institute of Arts and Letters, New  York, NY
In Her Own Image, Philadelphia Museum of Art/Samuel S. Fleisher Art Memorial, Philadelphia, PA
Woman’s Work: American Art 1974, Museum of the Philadelphia Civic Center, Philadelphia, PA
Cordier & Ekstrom, New York, NY
Contemporary Arts Center, Cincinnati, OH

1975
Rutgers University, New Brunswick, NJ
Long Island Collectors Exhibition: Modern Masterpieces and Contemporary Art from Distinguished
Long Island Collectors, Hillwood Art Museum, C.W Post Campus, Long Island University, Brookville, NY
A Change of View, Aldrich Museum of Contemporary Art, Ridgefield, CT
Menace, Museum of Contemporary Art, Chicago, IL
Cordier & Ekstrom Gallery, New York, NY

1976
The Presence and the Absence in Realism, Roland Gibson Gallery, State University of New York, Potsdam, NY
Drawing Now: Ten Artists, Soho Center for the Visual Arts, New York, NY
American Artists:’76: A Celebration, Marion Koogler McNay Art Institute, San Antonio, TX
American Concern: The Humanist View, Haupert Union Building, Moravian College, Bethlehem, PA
Perspective 1976, Freedman Art Gallery, Albright College, Reading, PA
Cordier & Elkstrom Gallery, New York, NY

1977
Contemporary Women: Consciousness and Content, Brooklyn Museum of Art, Brooklyn, NY
Drawing Today in New York, Hamilton Gallery, New York, NY
Alumni Fine Arts Show, Pratt Institute, Brooklyn, NY
Contemporary Issues: Works on Paper by Women, The Woman’s Building, Los Angeles, CA
Images of Horror and Fantasy, Bronx Museum of the Arts, Bronx, NY
Circa 1963, Buecker and Harpsichords, New York, NY
Women’s Art Symposium National Invitational Exhibition, Turman Gallery, Indiana State University, Terre    Haute, IN
Cordier & Ekstrom, New York, NY

1978
Woman From Nostalgia to Now, Alex J. Rosenberg, New York, NY
Constructs, Organization of Independent Artists, Bleecker Renaissance, New York, NY

1979
Az 1970-es evek uj amerikai festeszete, Hungary, Czechoslovakia, Poland, organized by the New Museum
of Contemporary Art, New York, NY
Form and Figure, Western Association of Art Museums, San Francisco, CA
The Figure of 5, The Gallery, Miami-Dade Community College, Miami, FL
The Unpainted Portrait: Contemporary Portraiture in Non-Traditional Media, John Kohler Art Center,    Sheboygan, WI
The Male Image, Robert Samuel Gallery, New York, NY
As We See Ourselves - Artists’ Self-Portraits, Heckscher Museum, Huntington, NY
Women in Art: The Politics of Esthetics, Hampshire College, Amherst, MA
Selections from the Olga Hirshhorn Collection, Huntington Galleries, Huntington, WV
20th Century Sculptors and Their Drawings: Selections from the Hirshhorn Museum and Sculpture Garden,
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC
Collage: American Masters, Montclair Art Museum, Montclair, NJ

1980
American Sculpture: Gifts of Howard and Jean Lipman, Whitney Museum of American Art, New York,    NY
50th Anniversary of the Whitney Museum of American Art, Whitney Museum of American Art, New York,    NY
Works on Paper, Newhouse Gallery, Snug Harbor Cultural Center, Staten Island, NY
Perceiving Modern Sculpture, Grey Art Gallery, New York University, New York, NY
10th  Season Group Show, Buecker and Harpsichord, New York, NY

1981
Bronze, Hamilton Gallery, New York, NY
Figuratively Sculpting, P.S.1, Institute for Art and Urban Resources, Long Island City, NY
The Figure: A Celebration, University of North Dakota Art Galleries, Grand Forks, ND
New Dimensions in Drawing 1950-1980, Aldrich Museum of Contemporary Art, Ridgefield, CT
Drawing Acquisitions 1978-1981, Whitney Museum of American Art, New York, NY

1982
Neo-Objective Sculpture, Dart Gallery, Chicago, IL
Body Language: Current Issues in Figuration, San Diego State University Art Gallery, San Diego, CA
New Wave Figurative Art, Baker Gallery, La Jolla, CA
The Americans: The Collage, Contemporary Arts Museum, Houston, TX

1983
The Sculptor as Draftsman, Whitney Museum of American Art, New York, NY
Terminal New York, The Brooklyn Army Terminal, Brooklyn, NY
20th  Century Painting for the Discerning Collector, Galleria La Medusa, Rome, Italy
Gallery Sculptors, Terry Dintenfass Gallery, New York, NY
1984 - A Preview, Ronald Feldman Fine Arts, New York, NY
Six Sculptors, Bette Stoler Gallery, New York, NY

1984
Dreams and Nightmares, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC
Crime and Punishment: Reflections of Violence in Contemporary Art, Triton Museum of Art, Santa Clara, CA
American Women Artists: Part II: The Recent Generation, Sidney Janis Gallery, New York, NY
About Face, Art Museum of South Texas, Corpus Christi, TX
Pratt Invitational Alumni: A Multimedia Presentation of Outstanding Pratt Alumni, Pratt Institute and 469 Broome  Street Gallery, New York, NY
ID, Bette Stoler Gallery, New York, NY
Modern Masks, Whitney Museum of American Art at Philip Morris, New York, NY
Sculpture Exhibition, Gallery Moos Ltd., Toronto, Ontario, Canada
Drawing: Works on Paper From the Past Five Years by Fifty Artists, Barbara Toll Fine Arts, New York, NY
Sculptors’ Drawings 1910-1980, Selections from the Permanent Collection, Whitney Museum of American Art, New York, NY

1985
Contemporary Figure Drawing, Minneapolis College of Art and Design, Minneapolis, MN
Large Drawings, Bass Museum of Art, Miami Beach, FL; Madison Art Center, Madison, WI; Norman
MacKenzie Art Gallery, Saskatchewan, Canada; Anchorage Historical and Fine Arts Museum, Anchorage, AK; Santa Barbara Museum of Art, Santa Barbara, CA; Tweed Museum of Art, Duluth, MN
Black and White II: The Absence of Color, Hand In Hand Galleries Ltd., New York, NY
American Art: American Women, Stamford Museum and Nature Center, Stamford, CT
Invitational Exhibition, Artmart, New York, NY
Collage: The State of the Art, Bergen Museum of Art and Science, Paramus, NJ

1986
Relief Sculpture, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC
Maelstrom: Contemporary Images of Violence, Emily Lowe Gallery, Hofstra University, Hempstead, NY

1987
The Political is Personal, Ceres Gallery, New York, NY
Images of Power: Visual Statements by 10 Major Women Artists, Rockland Center for the Arts, West    Nyack, NY
The Drawing Show, Katherine E. Nash Gallery, University of Minnesota, Minneapolis, MN
Modern American Realism: The Sara Roby Foundation Collection, National Museum of American Art,
Smithsonian Institute, Washington, DC
Crime and Punishment, Schreiber/Cutler, Inc., New York, NY
Inaugural Exhibition: 30 from 25 - 1960 to 1985, Sheppard Gallery, Church of Fine Arts Complex, University of Nevada at Reno, Reno, NV
National Sculpture Society: Fifty-Fourth Annual Exhibition, Port of History Museum at Penn’s Landing, Philadelphia, PA
Drawings: Invitational Exhibition, Bemis Foundation Alternative Worksite, New Gallery, Omaha, NB
Spatial Considerations/Invitational Sculpture Exhibit, Decker and Meyerhoff Galleries, Maryland  Institute  College of Art, Baltimore, MD
The Eloquent Object, The Philbrook Museum of Art, Tulsa, OK

1988
The Oakland Museum, Oakland, CA
The Chicago Public Library, Chicago, IL
Work of the Spirit, Ceres Gallery, New York, NY
American Works on Paper, Spanierman Gallery, New York, NY

1989
The Eloquent Object, Orlando Museum of Art, Orlando, FL; The Virginia Museum of Fine Arts, Richmond, VA

1990
Nancy Grossman, Ariane Lopez-Huici, Aura Rosenberg, Carolee Scheemann, Joan Semmel, Nahan    Contemporary, New York, NY
No Trends, Nahan Contemporary, New York, NY
Art - The Universal Language, Rempire Gallery, New York, NY
Broken Rifles: American Artists Honor the War Resisters League, Arthur A. Houghton Gallery, Cooper  Union, New York, NY
An Artist’s Christmas, Midtown Payson Galleries, New York, NY

1991
World Disorder, The Cultural Space, New York, NY
The Hybrid State, Exit Art, New York, NY

1992
Rubber Soul, LedisFlam Gallery, New York, NY
Erotiques, A.B. Galeries, Paris, France
The Auto-Erotic Object, Hunter College Gallery, New York, NY
1920 - The Subtlety of Subversion, The Continuity of Intervention, Exit Art/The First World, New York, NY

1993
Women at War, LedisFlam Gallery, New York
Street Play, Tribeca 148 Gallery, New York, NY
Coming to Power: 25 Years of Sexually X-Plicit Art by Women, David Zwirner Gallery, New York, NY
Annual Exhibition, The National Academy of Design, New York, NY

1994
Crime, Solo Impressions, Inc., New York, NY
Matrilineage, Joe and Emily Lowe Art Gallery, Syracuse University, Syracuse, NY
Rough Cuts, Henry Street Settlement/Abrams Art Center, New York, NY

1995
Nancy Grossman / Linda Stein, Cortland Jessup Gallery, Provincetown, MA
A Matter of Synthesis: Collage and Assemblage, Arlene Bujese Gallery, East Hampton, NY
Collage: Made in America, Michael Rosenfeld Gallery, New York, NY
In Three Dimensions: Women Sculptors of the 90’s, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, Staten Island, New York
In A Different Light, University Art Museum, Berkeley, CA
Drawings by Sculptors: Selections from the Permanent Collection, Arkansas Arts Center (now Arkansas Museum of Fine Arts), Little Rock, AR

1996
Chips off the Block: Carvers, Luise Ross Gallery, New York, NY
Fiber and Form: The Woman’s Legacy, Michael Rosenfeld Gallery, New York, NY
Patchwork, Andre Zarre Gallery, New York, NY
Nancy Grossman / Bruce Cratsley, Cortland Jessup Gallery, Provincetown, MA
Powerful Expressions: Recent American Drawings, National Academy of Design, New York, NY
Expressive Voices of the Meaningful: Large Drawings and Objects from the Arkansas Arts Center Foundation Collection, Arkansas Arts Center, Little Rock, AR

1997
Sweet and Mellow, Exit Art/The First World, New York, NY

1998
Modern American Realism: The Sara Roby Foundation Collection from the National Museum of
American Art, Cornell Fine Arts Museum, Rollins College, Winter Park, FL; Madison Art Center, Madison, WI; Columbus Museum, Columbus, GA; Heckscher Museum of Art, Huntington, NY; Everson Museum of Art, Syracuse, NY
The ‘60’s in the Seventies, Ubu Gallery, New York, NY
Peep Show, Exhibition of Erotic Fact and Fantasy, Luise Ross Gallery, New York, NY
Twentieth Century American Drawings, Arkansas Arts Center, Little Rock, AK; Sunrise Museums, Charleston, WV; Philharmonic Center for the Arts, Naples, FL; Fort Wayne Museum of Art, Fort Wayne, IN; Knoxville Museum of Art, Knoxville, TN; Boise Art Museum, Boise, ID

1999
Afterimage: Drawing Through Process, Museum of Contemporary Art and The Geffen Contemporary, Los Angeles, CA
Contemporary Classicism, Neuberger Museum of Art, State University, Purchase, NY
Intimate Expressions: Two Centuries of American Drawings, Columbus Museum, Columbus, GA
Rendezvous North Carolina: 20th Century Sculpture and Sculptors’ Drawings from the Weatherspoon Art    Gallery and the Ackland Art Museum, Ackland Art Museum, Chapel Hill, NC
Drawn Across the Century: Highlights from the Dillard Collection of Art Paper, Weatherspoon Art Gallery, Greensboro, NC
Chronicle, School of Visual Arts, New York, NY
Large Drawings from the Arkansas Arts Center Foundation Collection, circulated by Smith-Kramer Fine Arts Services, Kansas City, MO; The Columbus Museum, Columbus, GA; The Butler Institute of American Art, Youngstown, OH; Mississippi Museum of Art, Jackson, MS; Cedar Rapids Museum of Art, Cedar Rapids, IA; Hunter Museum of American Art, Chattanooga, TN; Center for Visual Art, Metropolitan State University, Denver, CO; Georgia Museum of Art, University of Georgia, Athens, GA; Washington State University Museum of Art (now Jordan Schnitzer Museum of Art), Washington State University, Pullman, WA; Pensacola Museum of Art, Pensacola, FL

2000
The End: An Independent Vision of the History of Contemporary Art, Exit Art, New York, NY
The Likeness of Being: Contemporary Self-Portraits by 60 Women, DC Moore Gallery, New York, NY
True Grit: Seven Female Visionaries before Feminism, Michael Rosenfeld Gallery, New York, NY; Mills College Art Gallery, Oakland, CA; Boise Museum of Art, Boise, ID; Marsh Art Gallery, University of Richmond, Richmond, VA; Farnsworth Art Museum, Rockland, ME; El Paso Museum of Art, El Paso, TX; Newcomb Art Gallery, Tulane University, New Orleans, LA; Center for the Visual Arts, Metropolitan State College, Denver, CO
Michael Rosenfeld Gallery: The First Decade, Michael Rosenfeld Gallery, New York, NY

2001
Eighteen Year Retrospective Exhibition, Beacon Street Gallery, Chicago, IL
Rupture & Revision: Collage in America, Pavel Zoubok, Inc, New York, NY
Tracing Vision: Modern Drawings from the Ceseri Collection and the Georgia Museum of Art, Wright State University Art Galleries, Dayton, OH; Samuel P. Harn Museum, University of Florida, Gainesville, FL
Me and My Baby: Identity and Creativity, Lucy Daniels Foundation Annual Conference on Psychoanalysis and Creativity, Cary, NC

2002
Gloria: Another Look at Feminist Art of the 1970s, White Columns, New York, NY; Rhode Island School of Design, Providence, RI
Something / Anything, Matthew Marks Gallery, New York, NY
Personal & Political: The Women’s Art Movement, 1969-1975, Guild Hall Museum, East Hampton, NY

2003
In the Eye of the Beholder, George Adams Gallery, New York, NY
Recent and Contemporary American Art, Scottish National Gallery of Modern Art, Edinburgh, Scotland
Creative Space: Fifty Years of Robert Blackburn’s Printmaking Workshop, International Print Center, New York, NY

2004
Presence, Chelsea Art Museum, New York, NY
Mike Kelley: The Uncanny, Tate Liverpool, Liverpool, England; Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria
Between Art and Life: From Joseph Cornell to Gabriel Orozco, Miami Art Museum, Miami, FL

2005
Upstarts and Matriarchs: Jewish Women Artists and the Transformation of American Art, Mizel Center for Arts and Culture, Denver, CO
Contemporary Women Artists: New York, University Art Gallery, Indiana State University, Terre Haute, IL
Collage: Signs & Surfaces, Pavel Zoubok Gallery, New York, NY

2006
Skin is a Language, Whitney Museum of American Art, New York, NY
Twice Drawn, The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga    Springs, NY
Lines of Discovery, 225 Years of American Drawings, Columbus Museum of Art, Columbus, GA; The Gilcrease Museum, Tulsa, OK; Kalamazoo Institute of Arts, Kalamazoo, MI; Arkansas Art Center, Little Rock, AR
When the Revolution Comes, Cullen Fine Arts, New York, NY

2007
Agents of Change: Women, Art and Intellect, Ceres Gallery, New York, NY
WACK! Art and the Feminist Revolution, 1965-1980, Los Angeles Museum of Contemporary Art, Los Angeles, CA; National Museum of Women in the Arts, Washington D.C.; P.S.1 Contemporary Art Center, New York, NY; Vancouver Art Gallery, Vancouver, British Columbia
The Critic as Advocate: The Legacy of Arlene Raven, College of Staten Island, Staten Island, NY
The Third Mind, Palais de Tokyo, Paris, France
Martian Museum of Terrestrial Art, Barbican Art Gallery, London, England

2008
(un)common threads, Michael Rosenfeld Gallery, New York, NY

2009
Everywhere:  Politics of Sexual Diversity in Art, Centro Galego e Arte Contemporánea, Santiago de Compostela, Spain
Propose: Works on Paper from the 1970s, Alexander Gray Associates, LLC, New York, NY
Reconfiguring the Body in American Art, 1820-2009, National Academy Museum of Art, New York, NY

2010
Visible Vagina, Francis Naumann Fine Art, New York, NY
Different Strokes: Twentieth Century Drawings, George Adams

2011
From the Hand: Drawings from the Hofstra University Museum Collection, Hofstra University Museum, Hempstead, NY
Women Sculptors of the National Academy, National Academy Museum, New York, NY
Collage, Michael Rosenfeld Gallery LLC, New York, NY

2012
Every Exit is an Entrance: 30 Years of Exit Art, Exit Art, New York, NY
Exquisite Corpses: Drawing and Disfiguration, Museum of Modern Art, New York, NY
To be a Lady: Forty-five Women in the Arts, 1285 Avenue of the Americas Art Gallery, New York, NY
The Female Gaze:  Women Artists Making Their World, Pennsylvania Academy of the Fine Arts, Philadelphia, PA
...On Paper, Michael Rosenfeld Gallery LLC, New York, NY
INsite/INchelsea: The Inaugural Exhibition, Michael Rosenfeld Gallery LLC, New York, NY

2013
Ballet of Heads: The Figure in the Collection, Berkeley Art Museum, University of California, Berkeley, CA
Personal, Political, Mysterious, The FLAG Art Foundation, New York, NY
A New View: Contemporary Art, Saint Louis Art Museum, Saint Louis, MO
Artists’ Self-Portraits from the Collection of Jackye and Curtis Finch, Jr., The Arkansas Art Center, Little Rock, AR; The Baker Museum, Naples, FL

2014
A Chromatic Loss, Bortolami Gallery, New York, NY, January 9-February 15, 2014
The Sara Roby Collection, Smithsonian American Art Museum, Washington, DC
Inaugural Group Show: Gallery Artists, March Selwyn Fine Art, Beverly Hills, CA
Venus Drawn Out: 20th Century Drawings by Great Women Artists, The Armory Show Modern, New York, NY
Vintage Violence, Monya Rowe Gallery, New York, NY
New Hells, Derek Eller Gallery, New York, NY
Four Figures, Marc Selwyn Fine Art, Los Angeles, CA
Solitary Soul, Michael Rosenfeld Gallery LLC, New York, NY


2015
America Is Hard to See, Whitney Museum of American Art, New York, NY
Affinity Atlas, Frances Young Tang Teaching Museum at Skidmore College, Sarasota Springs, NY
It’s Never Just Black or White, Michael Rosenfeld Gallery LLC, New York, NY
METAL: American Sculpture, 1945-1970, Michael Rosenfeld Gallery LLC, New York, NY

2016      
Passages in Modern Art: 1946-1996, Dallas Museum of Art, Dallas, TX
Human Interest: Portraits from the Whitney’s Collection, Whitney Museum of American Art, New York, NY
Decade by Decade: Art Acquired in Its Time, Weatherspoon Art Museum, University of North Carolina, Greensboro, NC
It’s Not Your Nature, Michael Rosenfeld Gallery LLC, New York, NY

2017
Delirious: Art at the Limits of Reason, 1950-1980, The Metropolitan Museum of Art - Met Breuer, New York, NY
Collage: Made in America, Michael Rosenfeld Gallery LLC, New York, NY
The Time Is N♀w, Michael Rosenfeld Gallery LLC, New York, NY
Body of Work, Honolulu Museum of Art, Honolulu, HI
Beyond Boundaries: Feminine Forms, Pennsylvania Academy of the Fine Arts, Philadelphia, PA
An Incomplete History of Protest: Selections from the Whitney's Collection, 1940-2017, Whitney Museum of American Art, New York, NY
Pratt Survey Exhibition Part 1: Camerado, this is no book, Dekalb Art Gallery, Pratt Institute, Brooklyn, NY
1072 Society Exhibition, Jule Collins Smith Museum of Fine Art, Auburn University, Auburn, AL
Figuratively Speaking, Michael Rosenfeld Gallery LLC, New York, NY

2018
The Body in Color, The Metropolitan Museum of Art - Met Breuer, New York, NY
Birthday Presents, Ackland Art Museum, The University of North Carolina at Chapel Hill, Chapel Hill, NC
Celebrating 50 Years of the US Open Championships, United States Tennis Association (USTA) President’s Suite, Arthur Ashe Stadium, Flushing Meadows, NY
Modern American Realism: Highlights from the Smithsonian’s Sara Roby Foundation Collection, Portland Art Museum, Portland, OR

2019
Art After Stonewall, 1969 to 1989, Grey Art Gallery, New York University, New York, NY; Leslie-Lohman Museum of Gay and Lesbian Art, New York, NY; Patricia & Phillip Frost Art Museum, Florida International University, Miami, FL; Columbus Museum of Art, Columbus, OH
Art of Defiance: Radical Materials, Michael Rosenfeld Gallery LLC, New York, NY
Drawn Together Again, The FLAG Art Foundation, New York, NY
The Sensation of Space, The Warehouse, Dallas, TX, co-organized by the Warehouse and the Nasher Sculpture Center, Dallas, TX
Beauty and Bite, Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY
Strange, Berkeley Art Museum & Pacific Film Archive, University of California, Berkeley, CA
“War Within, War Without,” Collection 1940s-1970s, The Museum of Modern Art, New York, NY

2020      
Comfort, curated by Omar Sosa, Friedman Benda, New York, NY
Drawn Together: Five Centuries of Drawing from the Bowdoin College Museum of Art, Master Drawings New York, Driscoll | Babcock Galleries, New York, NY
Paper Power, Michael Rosenfeld Gallery LLC, New York, NY
FIGURE/S: drawing after Bellmer, Drawing Room, London, England
The Cone Family Legacy, Weatherspoon Art Museum, The University of North Carolina at Greensboro (UNC Greensboro), Greensboro, NC
InterStates of Mind: Rewriting the Map of the United States in the Age of the Automobile, Eli and Edythe Broad Art Museum, Michigan State University, East Lansing, MI

2021
Surrealism in American Art, Centre de la Vielle Charité, Marseille, France
Nasher Mixtape, Nasher Sculpture Center, Dallas, TX
NOT I: Throwing Voices (1500 BCE - 2020 CE), Los Angeles County Museum of Art, Los Angeles, CA
Vibrant: Artists Engage with Color, Weatherspoon Art Museum, University of North Carolina, Greensboro, NC
Ways of Seeing: Three Takes on the Jack Shear Drawing Collection, The Drawing Center, New York, NY

2022
Useless Bodies?, curated by Elmgreen & Dragset, Fondazione Prada, Milan, Italy

1962 
Ida C. Haskell Award for Foreign Travel, Pratt Institute

1965-66 
John Simon Guggenheim Foundation Fellowship

1966 
Inaugural Contemporary Achievement Award, Pratt Institute, Brooklyn, NY

1970 
One Hundred Women In Touch With Our Time, Harper’s Bazaar Magazine

1973 
Juror, New York State Council on the Arts, sculpture applicants for CAPS Fellowships

1974 
Commencement Speaker and Honored Guest, 99th Commencement Exercises, Massachusetts College of Art, Boston, MA

1974 
American Academy of Arts and Letters, National Institute of Arts and Letters Award
Juror, American Academy in Rome, sculpture applicants for Prix de Rome Fellowships

1975 
Elected to Membership, National Society of Literature and the Arts

1984 
National Endowment for the Arts Fellowship in Sculpture

1990 
The Hassam, Speicher, Betts and Symons Purchase Award, The American Academy and Institute of Arts and Letters

1991 
Artist’s Fellowship in Sculpture, The New York Foundation for the Arts

1991-92 
Nancy Grossman at Exit Art, The Hillwood Art Museum and the Sculpture Center selected one of the three best exhibitions in an art gallery of this season by The American Chapter of the International Art Critics Association

1994
National Academician Award, National Academy Museum, New York, NY

1995 
Alumnae Achievement Award, Pratt Institute, Brooklyn, NY
1996-97 Joan Mitchell Foundation Grant

2001 
Pollock-Krasner Foundation Grant

2008
Women’s Caucus for Art Lifetime Achievement Award

2014
Best Show in a Commercial Space in New York, International Association of Art Critics