Heute nacht geträumt: Pre-history – Future (2022) is a forthcoming exhibition. Encompassing the entire Kunstmuseum Basel | Gegenwart this collection-focused exhibition is shaped around four questions: From what point does the contemporary begin? Which documents say what? Where does my body belong? Do I want come back? At the heart of each of these questions set within the museum-turned temporal topography is the desire to fundamentally reconsider the paradigms under which a museum might function.

Evacuation Tapes (2020) is an online publication. This collection of writing explicitly folds out from a selection of poems by J.C. Sturm, one of Aotearoa New Zealand’s most significant Māori women writers of the twentieth century. Sturm’s poetry is placed in relation to new work by Anna Gritz, Sarah Hopkinson, Hanahiva Rose, Sriwhana Spong and Buchanan. Design by HIT with Fuchs Borst.

Uneven Bodies (2020) was a symposium and is a reader. The symposium bought together diverse approaches to collections in order to recalibrate the ways in which they are shaped. The content from the symposium is gathered together in the reader and offers a template for how we can imagine collecting for the future. Contributors include: Linda Tuhiwai Smith, Wanda Nanibush, Dr. Clémentine Deliss, Gabi Ngcobo, Lana Lopesi, Christina Barton, and Megan Tamati Quenelle. Design by HIT.

The scene in which I find myself / Or, where does my body belong (2019) was an exhibition. Working into one of Aotearoa New Zealand’s preeminent collecting institutions, the Govett-Brewster Art Gallery, it examined (contemporary) collection politics. Placing the mechanisms used in constructing collections per se under a sharp scrutiny, the exhibition sat with the paradox that a collection is, that lived experience is.

A garden with bridges (spine, stomach, throat, ear) (2019–ongoing) is a permanent outdoor architecture. Initiated by the European network Neue Auftraggeber / New Patrons, Buchanan is commissioned by an unemployment community centre and an elite high school to develop a garden located in the rear of the community centre located in a former Hitler Youth house. The design works towards barrier-free access to the garden and aims to create a space for a mutable ‘third group’ that takes into account the need for privacy and withdrawal from the other as much as it encourages meetings amongst all possible users.

Lexicon of Infinite Movement (2019) was an exhibition that placed the work of Charlotte Posenenske in dialogue with the practices of Buchanan and Dutch artist Yeb Wiersma. Buchanan’s work included the installation of five silk curtains throughout the museum, in both public and private zones; regular scripted tours to these five locations led by museum security guards; and a major essay included in the exhibition guide.

Bad Visual Systems (2016 / 2018) was a two-part exhibition that departed from an essay by Donna Haraway where she describes self-identity as a bad visual system because it assumes a single point of orientation, she suggests an alternative: “the split, contradictory self is the one who can interrogate positions and be accountable, the one who can … join rational conversations and fantastic imaginings that change history.” The first iteration included work by Judith Hopf and Marianne Wex, the second iteration was awarded The Walter’s Prize, Aotearoa New Zealand’s preeminent award for contemporary artists.

Town Hall (ongoing) is an amorphous collective coming out of the Aotearoa New Zealand context with contributors located in the global north and the global south. Town Hall is dedicated to the formation, sharing, and circulation of contemporary art and ideas. Part journal, part aggregator, part publishing imprint, part working group, Town Hall’s aim is to support the building and re-building of a critical context for contemporary practice.

Hopkinson Cundy / Hopkinson Mossman (2010–2019) was a gallery located in Auckland and Wellington, they represented the work of Ruth Buchanan during this period.