Curated by 101 Curatorial Fellow Sharon Lerner, the exhibition Undisclosed Destination is composed exclusively of works by artists originally from, or working on, the West Coast, from Vancouver to Los Angeles. Aiming to establish commonalities among them beyond their geography, the show arranges a selection of pieces from the 101 Collection into two different paths that run in parallel, and in tension.

The first path focuses on landscape, a long-established subject in art. West Coast cities carry the load of having served as imagined Arcadias for utopian thinkers and idealists, and San Francisco seems especially trapped between its amazing natural and urban scenery and a history that seems to haunt it. This section of the show includes straightforward depictions as well as works that deal in a more oblique way with aspects related to the American territory, for instance questioning the way it is understood and represented in the popular imagination, or by presenting it as a beautiful and privileged spectacle ripe for plundering (by the movie industry and others).
A second path through the exhibition is arranged chronologically, encouraging viewers to perceive distinct genealogies of influences and correspondences—or perhaps making the case for a lack thereof. One constant along this path is a mode of production that involves reuse and repetition (of both materials and topics).

In the film La Nouvelle Kahnawake the French duo Patrick Bernier and Olive Martin zoom-in on a Mohawk tribe of Canadian First Nations people, located on the south shore of the St. Lawrence river across from Montréal (Québec, Canada). Yet the film is as much about the artists research and presence in Kahnawake as it is about the Mohawks who live there. The artists appear throughout the film, embedding and acknowledging their own position as outsiders noting, “If this is a documentary then the subject is us.” But it’s not just a documentary, nor a critical analysis of the legal loopholes, business practices and cultural histories of the Mohawks. It’s a poetic and performative investigation of relationships in the global sphere.

Curated by 101 Curatorial Fellow Xiaoyu Weng, the exhibition R for Replicant takes as its starting pont a twist on the Voight-Kampff test: If the replicant is not merely a simulation of a human rather a being that experiences an alternative reality, then perhaps images do not provide replicas of reality, or fake realities, but alternative realities that might or might not be experienced. The works featured comment on contemporary image production through interventions related to history, narrative, memory, and experience. It aims to explore how images shape and challenge our understanding of reality, and specifically or understanding of American identity.

As the final participant of The Exhibition Previously Known As Passengers, French artist Aurélien Froment does what might seem a logical conclusion to the 24 month-long exhibition, especially when one considers his analytical and self-reflexive approach to art making. Froment will stage what one might call a retrospective, or perhaps even an unauthorized biography, of the entire exhibition. The artist is recalling fragments of some of the art-works presented over the last two years and using remains of the permanent exhibition structure-walls, signage, benches and pedestals-to create his own exhibition.