Nathaniel Fisch and Helène Aylon at the opening of Aylon’s 1976 exhibition, "Helène Aylon: Paintings that Change in Time," held at the Massachusetts Institute of Technology (MIT) Art Gallery. At that time, Fisch was a graduate student in MIT's electrical engineering and computer science department. Photo courtesy of Nathaniel Fisch.
The exhibition “Undercurrent,” now running at the Princeton University Art Museum’s Art@Bainbridge, brings together 20 pieces from the career of Helène Aylon, who blended art with activism and challenged societal norms.
Guest-curated by Rachel Federman, the exhibition pays homage to the strong “undercurrent of receptivity and resilience” that unifies Aylon’s work over 50 years. It has also given her son Nathaniel Fisch, a professor of astrophysical sciences at Princeton, an opportunity to reflect on his mother’s legacy as an artist.
Although Aylon’s work has been shown in galleries and group exhibitions, “Undercurrent” is the first solo museum exhibition to showcase her since her death in 2020. The exhibition explores Aylon’s incorporation of feminist theory, ecological activism, and Judaism into her multidisciplinary practice.
Federman pays homage to Aylon’s innovative career, which holds specific significance for her as a personal friend of the artist. “Working in the intimate space of Bainbridge House allowed me to distill what I wanted to say about Helène as an artist,” said Federman, an independent curator and writer.
When asked about the show’s timing, Federman said, “The themes feel current because many of the pressing issues she addressed have not been resolved. She also developed a visual language that feels universal and timeless.”
Aylon used various media and techniques for her work, including painting, performance and video. Her art emphasized discovery rather than completion, challenging the viewer to think critically about the world around them and question the invisible forces that lie beyond the surface.
Installation view of “Reimagination of Bridge of Knots,” 1993 / 1995 / 2006, by Helène Aylon. Photo courtesy of the estate of Helène Aylon and Leslie Tonkonow Artworks + Projects. Photo by: Joseph Hu.
The exhibition also carries particular meaning for Fisch, who loaned two pieces from his collection to the exhibition.
“Of course, the show coming specifically to the Princeton campus not so long after my mom’s passing was a poignant moment for me,” said Fisch. “I was struck by the professionalism of the exhibit and the high level of discussion on the faculty panel commenting on the show [which took place in November 2024].”
He continued, “It wasn’t just that the panelists spoke highly of my mother and her work, but how, coming from different academic departments at the University, each incorporated superb scholarship from totally different perspectives and in ways that I, myself, had never considered before. It was also evident that each panelist had enjoyed my mom’s memoir [‘Whatever Is Contained Must Be Released’].” Reflecting on his mother’s extraordinary legacy as an influential, dedicated, and sometimes controversial artist, he said that what he valued most about her went beyond her artistic talent — it was her character: her lively spirit, her ability to laugh, her deep love, and her appreciation for life and those close to her.
He recalled, “Widowed at 30, my mother was less than 20 years older than me, so it often felt like we were growing up together. My earliest experiences with art came from her suggesting that I skip school to visit museums together.”
The “Undercurrent” exhibition not only celebrates Aylon’s career but also perpetuates her legacy, presenting her “voice” to today’s art enthusiasts, educators, scholars and activists. The exhibition runs through Feb. 2.
For further insights, join the Art Museum on Thursday, Jan. 23, at 5:30 p.m. for a curatorial talk. The event features an introduction from the museum’s chief curator, Juliana Ochs Dweck, and explores the diverse themes presented in the exhibition while highlighting selections from Aylon’s inspiring oeuvre.