The Kaleidoscopic: Writing Histories through the Collection is curated by Claudia Mattos, Associate Curator of New Media Art
Ellen Harvey’s Nudist Museum is presented as part of this new installation of The Bass’ permanent collection.
“The Nudist Museum is a slightly mad homage to one of the main reasons I loved museums as a child — they were the only places I could see naked people. It consists of copies that I made in oils of all 56 nudes in The Bass’ collection. Everything that wasn’t flesh was painted in grisaille. I based the copies on photographs of the original artworks that I had cropped to focus on the nudes, so that the dimensions were divorced from those of the originals. I also extended the paint onto the thrift-store frames into which I fit my copies so that it was even clearer that they weren’t originals. The paintings are hung salon-style over images of contemporary mass media nudity sourced from fashion, pornographic and fitness magazines. The magazine pages overlap so that any “problematic” nudity is confined to the painted copies. The project was commissioned by Executive Director Silvia Cubiñá for The Bass, where it was exhibited in 2010, so it’s particularly lovely that it’s come home to the place that inspired it.” Ellen Harvey, 2024,
For details about The Nudist Museum, click here.
THE KALEIDOSCOPIC: WRITING HISTORIES THROUGH THE COLLECTION
MIAMI BEACH, FL (August 7, 2025)—The Bass is pleased to announce The Kaleidoscopic: Writing Histories Through the Collection on view August 20, 2025. The new exhibition presents The Bass’s collection as a dynamic and evolving archive—one that reflects the fragmented nature of history and the shifting frameworks through which we interpret the past.
History rarely unfolds as a single, unified story. Partial, overlapping, and often conflicting accounts of the past accumulate into a historical narrative over time. This is especially evident in a museum collection, where objects from different periods, cultures, and contexts sit side by side. While each work carries its own history, informed by its maker, time, and place, its meaning is also shaped by how it is displayed, interpreted, and positioned in relation to other works. These arrangements are never neutral—institutional values and the broader cultural narratives that museums help construct are inherent in each display, shaping the very stories museums are able to tell.
At a time when historical narratives are being questioned and reexamined, the act of interpreting the past is under growing scrutiny. Cultural institutions are reckoning with whose stories they have historically upheld—and those they have excluded. How should we write histories today, knowing that every source—including a museum collection—offers only a partial view? This question lies at the heart of this exhibition, which recognizes that museums are not passive repositories, but active participants in shaping how history is constructed and understood—through what they choose to preserve, what they exclude, and how they frame what goes on view.
Rather than present the collection as a linear or fixed historical account, the exhibition approaches it through the metaphor of the kaleidoscope, where meaning shifts and refracts depending on the viewer’s position. Like the physical turn of a kaleidoscope, each encounter with the collection reveals new alignments, unexpected patterns, and alternate ways of seeing. Instead of forming singular interpretations, the exhibition invites multiple viewpoints, encouraging deeper reflection on how history is made visible.
The Kaleidoscopic: Writing Histories through the Collection challenges us to rethink the role of the museum as a living archive—not as a collection of unchanging truths, but as an evolving, multivocal space where histories can be written, rewritten, and righted. In doing so, the exhibition encourages visitors to consider how our understanding of the past is shaped by the lens through which we view it—and how meaning continues to shift as we return to these stories, again and again, from ever-changing perspectives.
The Kaleidoscopic: Writing Histories through the Collection is organized by Claudia Mattos, The Bass Associate Director of New Media.