As the country contends with white supremacy embedded in its statuary, the University of Virginia has unveiled a memorial to a violent American history that’s rarely been acknowledged in public monuments. The campus itself was designed by slave owner Thomas Jefferson and thousands of enslaved people worked at the institution. The eyes of one of them—Isabella Gibbons—are engraved by the artist Eto Otitigbe on the sloping exterior wall of two concentric granite rings. Inside the abstract form designed by Höweler + Yoon are carved names when it rains that appear to weep. slavery.virginia.edu

Only one person at a time can sit in this lavender gazebo at the Thomas Cole National Historic Site, but the birds are always welcome. The Pollinator Pavilion by artists Mark Dion and Dana Sherwood is a space as much for people as birds—specifically the ruby-throated hummingbird, which is an essential New York pollinator. Living flora and paintings adorn the wooden structure, which was informed by the fantastic depictions of nature by nineteenth-century artist Martin Johnson Heade and now anticipates Cross Pollination: Heade, Cole, Church and our Contemporary Moment, an exhibition that was rescheduled to spring 2021 due to the pandemic. thomascole.org

Six young artists from Oklahoma went west to pursue their creative passions and each made a name for themselves in the Los Angeles art scene of the 1960s and 1970s. Patrick Blackwell, Joe Goode, Jerry McMillan, Ed Ruscha, Paul Ruscha, and Mason Williams are featured in this first exhibition to reunite all six artists in their home state. OK/LA chronicles how their roots impacted the evolution of their art as well as how their relationships—formed through studying together or through collaborations—endured even as they set out on their own paths, whether music, art, or advertising. Virtual programming complements the exhibition on the campus of the University of Oklahoma, with a wry wit playing across their distinctive works. ou.edu/fjjma

A vacant lot in Minneapolis has been revitalized into a flourishing artwork that offers produce, pollution mitigation, and community. The urban farming project, led by Walker Art Center artist-in-residence Jordan Weber with the nonprofit Youth Farm, is made for local residents to harvest its fruits, vegetables, and herbs and use its gathering table as outdoor space. Laid out in lines reminiscent of a basketball court—with metal hoops at either end to catch rainwater—the garden addresses issues of food scarcity, environmental neglect, and a lack of resources in Black neighborhoods. walkerart.org

As this exhibition was scheduled to open in March, its contemplation around the places we inhabit became increasingly timely as many spent more of their lives than ever before in their homes. To access For a Dreamer of Houses from afar, the Dallas Museum of Art developed a rich virtual tour with a digital version of the gallery and videos on the processes behind large-scale installations such as Alex Da Corte’s neon house and Francisco Moreno’s kaleidoscopic Chapel with its hand-drawn mural mixing high and low culture. Even as visitors are welcomed back to the museum in the fall, these online experiences continue to bring works like Do Ho Suh’s ethereal replica of a passageway in his childhood home and Pipilotti Rist’s playful chandelier of underwear into whatever intimate space you have created for yourself. dma.org

In her more than four decades of sculpture, performance, and video art, Maren Hassinger has examined the relationship between the organic and industrial. On the Roof Deck Sculpture Garden, the bends of her wire and concrete works contrast with the nearby curves of Aspen Mountain. One piece has swayed strands of thick wire twisted into waves so they appear warped by the wind; another in the planters has furled metal like strange foliage. Each asks the viewer to consider their surroundings and how both natural and human forces have shaped this land. aspenartmuseum.org