Cady Noland (born 1956) is an American sculptor, printmaker, and installation artist who primarily works with found objects and appropriated images. Her work, often made with objects denoting danger, industry, and American patriotism, addresses notions including the failed promise of the American Dream, the divide between fame and anonymity, and violence in American society. Many of her works have involved different kinds of physical barriers in gallery spaces, including fences, barricades, and metal poles to guide or restrict the audience's movements. She has drawn extensively on media and tabloid imagery, regularly using images of notable criminals, celebrities, and public figures involved in scandal. Art critic Peter Schjeldahl called Noland "a dark poet of the national unconscious."
Noland has participated in several high profile exhibitions, including the 44th Venice Biennale (1990), the Whitney Biennial (1991), and Documenta 9 (1992). After widely exhibiting her art in the 1980s and 1990s to broad acclaim, Noland largely stopped presenting her work for nearly two decades. She began exhibiting again in the late 2010s, staging a museum retrospective in 2018 and exhibitions of new work in the early 2020s. Critics have written extensively about her influence on contemporary art beginning in the 1990s, in particular the seeming visual randomness of her often-sprawling installations that has been broadly emulated by other artists.
She is also known for her numerous disputes and lawsuits with museums, galleries, and collectors over their handling of her work. Noland was the subject of several legal disputes with collectors in the 2010s after she disavowed artworks that she no longer considered genuine due to damage or restoration. On several occasions she has requested the removal of her work from group exhibitions, and she has required art dealers and gallerists to post disclaimers at unauthorized exhibitions to inform audiences that she did not agree to participate. She has also been noted for her reluctance to be publicly identified, having only ever allowed two photographs of herself to be publicly released.
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Early life and education
Cady Noland was born in 1956 in Washington, D.C., the daughter of Kenneth Noland and Cornelia Langer.
Kenneth was a well-known abstract painter, and Langer, also an artist, co-owned a boutique in Alexandria, Virginia. They divorced in 1957. Her father Kenneth moved to New York City and lived in the Chelsea Hotel before buying a property in Shaftsbury, Vermont, and her mother eventually remarried to Dr. Donald J. Reis in 1985. At the encouragement of art critic Clement Greenberg, her father became an active member of the Sullivanian psychotherapy cult run by Saul B. Newton, which encouraged participants to discard their familial relations; Langer was later photographed for an article in The New York Times about a custody trial related to the cult and was identified with two other women as "relatives of Sullivanian collective members".
Author Nick Stillman has written that Noland grew up in New York, but it is unclear when she moved to the city or with which parent she lived; she sometimes spent time as a child at her father's property in Vermont. As an adult she said she "came from" Washington, D.C., calling it "a city of façade" and adding, "What's behind it? We're two-faced!" She has also said that growing up around her father's practice helped her to understand the machinations of the art world from an early age: "Dealers were already demystified for me."
Noland attended Sarah Lawrence College, Langer's alma mater, and lived in Manhattan after graduation. While in college she studied under sociology professor Stephen N. Butler, whom she would later dedicate a book to.
Life and career
1980-1987: Career beginnings
Noland first exhibited her art in 1981 at the nonprofit Washington Square East Galleries in a group exhibition juried by art historian and critic Marcia Tucker. She then began making artworks with found objects in 1983. Among her earliest works was Total Institution (1984), a multimedia assemblage sculpture created with items including a phone receiver, toilet seat, and rubber chicken hanging from a rack on a wall. Noland exhibited several found object artworks at Peter Nagy's gallery Nature Morte in 1987. She presented Shuttle, an assemblage work featuring shiny car parts placed on an extremely old, rusted wheeled cart. The cart was attached to a railing installed on the wall, creating a kind of track that the cart could not escape. Additionally, she exhibited Mirror Device, a small wall-based mirror work featuring a bright orange flare gun and handcuffs hanging from a horizontal metal bar attached to the front of the mirror. Noland met artist Steven Parrino at an opening for an exhibition at the gallery, and the two became friends and colleagues.
Also, in 1987, Noland created a slide lecture titled "Towards a Metalanguage of Evil" which she presented at an academic conference in Atlanta. The lecture explored Noland's research into psychopathology, with a focus on what she saw as the violence and exploitative behaviors of successful American men.
1988-1989: Rise to prominence
In 1988, Noland attended an open house for artists at the nonprofit gallery White Columns where she showed Polaroid images of her art to the director of the gallery, Bill Arning. Arning later said the images confused and "fascinated" him, as the installations in the pictures did not seem like traditional artworks, but rather collections of objects: "I couldn't tell where the art was." After visiting Noland's studio, Arning invited her to present her first solo exhibition in a gallery at White Columns. Noland spent so long finalizing the works in the gallery that Arning gave her the keys to lock up when he went home for the night.
Noland's exhibition at White Columns, White Room: Cady Noland, opened in March 1988. Works in the exhibition were made with medical equipment like IV bags and walkers and industrial materials like rubber mats and jumper cables, along with a silk screen depiction of a pistol. She also installed a metal bar across the door, forcing visitors to duck to enter. Journalist Julia Halperin has described the exhibition as "a cross between a Social Security office, a police station and a hospital." Arning said that when he first saw Noland's installation, he immediately called patrons of the gallery to tell them "Look, something really important happened here, and I think you need to see it." Noland's exhibition was critically acclaimed and she was soon invited to participate in several high-profile exhibitions in the United States and internationally. In November 1988, Noland staged her first solo exhibition outside the United States, at Galerie Westersingel 8 in Rotterdam, which featured mixed media mirrored constructions. Noland's exhibition was part of a series of shows by New York-based artists staged in conjunction with Rotterdam's 1988 cultural festival.
Noland exhibited solo at Colin de Land's American Fine Arts Co. gallery in April 1989, presenting multiple works focusing on the assassination of Abraham Lincoln. She silk screened historical images of Lincoln's boots, the suit he was wearing when he was shot, and the bloody cot he died on, along with snippets of text from a minute-by-minute news report of the assassination, onto metal panels that she leaned against the wall. She also exhibited several found object installations, including Our American Cousin, a pen-like metal enclosure in the center of the gallery filled with empty beer cans, stacked walkers, handcuffs, a barbecue grill, license plates, and hamburger buns. The work was titled after the play Lincoln had been viewing the night he was assassinated. Other installations she showed at the exhibition included: Celebrity Trash Spill, a work displayed on the floor in a pile featuring broken cameras, sunglasses, a metallic shirt, rubber floor mats, and a copy of the New York Post with the headline "Abbie Hoffman Dead;" and The American Trip, an assemblage sculpture featuring an American flag paired with a variant of the Jolly Roger. Additionally, Noland used metal bars installed around the space to block access to certain areas, including bars situated around the gallery reception desk, bars blocking the entry to the gallery owner's office, and bars surrounding the owner's desk. Reviewing the exhibition for Arts Magazine, critic Gretchen Faust called Our American Cousin the "centerpiece" of the show, adding that the piece "capture[s] the flavor, really the essence, of a Chevy truck commercial." Critic Jan Avgikos described Our American Cousin as a "whitetrash déjeuner sur l'herbe." Multiple critics identified chromed or shiny metal as a central visual motif in Noland's work.
1990-1992: International acclaim
Noland's work was included in the 44th Venice Biennale in May 1990, in the exhibition's Aperto section. Noland exhibited Deep Social Space, a sprawling found object installation she debuted in Milan, in 1989. She also installed several silk screened works featuring images of Oswald and Hearst, commercial advertising images of cowboys, and a photograph of a nineteenth-century prostitute's dwelling in the Pacific Northwest. Critic Peter Schjeldahl, reviewing the exhibition for Mirabella, said that the "effect of the ensemble is drastically melancholic; a cumulative charge of forlorn facts that affect a viewer like personal memories of childhood unhappiness." Discussing Noland's work as among the most popular in the exhibition, critic Amei Wallach, writing in Newsday, said collectors were "hot on [her] tracks..."
In July 1990, Noland staged New West-Old West, a solo show at Luhring Augustine Gallery and Galerie Max Hetzler's joint gallery location in Los Angeles. Works in the exhibition included a large wooden log cabin facade, a large staircase leading to a wall, an antique western chuckwagon, cut-out images of cowboys, silk screened metal panels with images of Mary Todd Lincoln and texts about the history of Colt guns, along with found objects on the floor of the gallery including raw lumber, a trash-filled dustpan, empty beer cans, rubber chickens, animal hides, and flags. One room of the exhibition included works Noland created in collaboration with graphic designers, consisting of commercial-seeming slogans and imagery for imagined products or companies with tag-lines like "Loans My Ass", displayed along with a barroom door, a bubble-wrapped car bumper, tools, and a cow's skull. In addition, Noland asked the gallery staff to wear stereotypical American frontier outfits like chaps, holsters, and cowboy hats that she rented for the duration of the exhibition, and staff were made to answer the phone by saying "howdy." Noland said that the outfits "functioned as a kind of alternative or additional performance laid over the roles already being performed" by the staff in their day-to-day work, adding that "It was a very difficult month for them but they were really good sports." Reviewing the exhibition for the Los Angeles Times, critic Kristine McKenna said Noland's show was "a wild ride through the junked landscape of America," and that it "suggests that our collective mind is like a hamster cage, padded with a thick, comforting layer of trash." Several critics writing contemporaneously panned the show overall, including McKenna, who wrote that "on close examination [the exhibition] loses intensity and focus in its attempt to do too much," and Lawrence Gipe, writing in Flash Art, who said that "Although many of the essential elements for social satire are present, their effectiveness is smothered by the familiarity of Noland's attack." Writing in retrospect several decades later, however, journalist Andrew Russeth described the show as "one of her most fondly remembered," and Halperin labeled the show "celebrated."
1993-1999: Return to New York, museum exhibitions
In 1993 Noland staged a two-artist exhibition with Doug MacWithey at the Dallas Museum of Art. Noland produced several silk screen works printed on reflective metallic surfaces that she called "funhouse mirrors," and she directed the museum to make four wheelchairs available in the galleries for all visitors, which were themselves made with a reflective metal similar to many of Noland's artworks. Noland later said in an interview that "I get impatient and lazy looking at art myself," and added that "The wheelchairs allowed you to move if you wanted to, you were not trapped." Also in 1993 she began producing large silk screen works on aluminum depicting red brick walls.
For a solo exhibition in 1994 at Paula Cooper Gallery in New York, her first show in the city since 1989, Noland produced four sculptures which appear like combinations between a pillory and stocks. The sculptures were interactive and she allowed viewers to lock themselves in. Noland has said that she believes stocks, often situated in town squares, were the first form of public sculpture in colonial America. These works were first inspired by a work-in-progress by Parrino titled Stockade: Existential Trap for Speed Freaks; Parrino said that "Cady called me to ask if it was okay to make stockade pieces. I told her she didn't need my permission." In addition to the stocks sculptures, Noland presented Publyck Sculpture, a set of aluminum-covered wooden beams with three tires hanging down from chains like a swing set, which was inspired by a similar-looking tire swing found in cult leader Charles Manson's final hiding place. She also produced several silk screen works featuring images and text excerpts from newspapers about celebrities and public figures including: Thomas Eagleton, a former U.S. Senator and Vice Presidential candidate whose career faltered when his hospitalizations for depression were made public; Wilbur Mills, a former U.S. Representative who resigned and entered rehab for alcoholism after several public incidents with Fanne Foxe, an exotic dancer; Vince Foster, a deputy White House Counsel under President Bill Clinton who died by suicide after experiencing work-related depression and anxiety; Martha Mitchell, a whistleblower during the Watergate scandal who was allegedly kidnapped, beaten, and drugged in order to silence her; Peter Holm, the ex-husband of actress Joan Collins who had picketed on Collins' lawn to protest their divorce; Manson and his cult, the Manson Family; and others involved in scandal, controversy, or public crimes. Eagleton's son reportedly brought his father to see the exhibition featuring his image. Critic Roberta Smith described the exhibition as "a walk-in scrapbook of various crimes, misdemeanors and scandals." Writing in Frieze, critic David Bussel observed that the people in the images selected by Noland "have been thwarted, in life or in death, by the repercussions of fame, burnt out 'victims.'"
2000s: Retreat from art world
Following a group exhibition in 2000 with Team Gallery in New York, Noland largely stopped exhibiting new work or engaging publicly with the art world for over a decade. The exhibition in 2000 featured a new a-frame barricade sculpture, which Noland installed so it almost completely blocked the entrance to the small gallery space. An unnamed art dealer attempted to purchase an edition of the sculpture, but Noland had instructed the gallery not to sell her work to other art dealers; the owner of Team Gallery, José Freire, said of Noland, "This was a person who wanted her work treated in a certain way." By the end of the exhibition, the work hadn't sold, and Noland asked the gallery to get rid of it by placing the a-frames in the street one at a time over several days until they were taken or disappeared. Parrino, Noland's friend and also a participant in the exhibition, described this as akin to "a serial killer disposing of a body."
In 2003 Noland's work The Big Slide (1989) was included in the Italian pavilion at the 50th Venice Biennale. The same year, David Zwirner Gallery attempted to include a work by Noland in a group exhibition in New York, but she requested its removal when she learned about the show. In 2004 she wrote an essay for Artforum on artist Andy Warhol, whose work she admires.
Noland's extended absence from the art world spurred several galleries to attempt to mount unauthorized exhibitions, including a show at the nonprofit gallery Triple Candie in 2006 comprising inexact remakes of Noland's work made by other artists. Art critics in New York reacted negatively to the show, with Jerry Saltz calling the exhibition "an aesthetic act of karaoke, identify theft, [and] body snatching." Writing in The New York Times, critic Ken Johnson called the Triple Candie show "confused, confusing and duplicitous."
2010s: Artwork disavowals, legal proceedings, retrospective
Prior to an auction at Sotheby's in March 2012 that was to include several works by Noland, the auction house removed Noland's aluminum print Cowboys Milking (1990) from the sale after she disavowed the work. Noland had visited the auction house to view the condition of several works set to be sold, and deemed Cowboys Milking to be damaged beyond repair. The work's owner, gallerist Marc Jancou, later sued both Noland and the auction house for a combined $26 million, but a judge dismissed the suit.
Also in 2012, galleries and art dealers attempting to exhibit Noland's work for sale began posting disclaimers to inform audiences that the artist had not been involved with or agreed to the exhibition of her work. The first such disclaimer, at the artist's request, accompanied an exhibition of her work organized by dealer Christopher D'Amelio at the Art Basel art fair and stated that Noland did not think D'Amelio was "an expert or authority on her artwork, did not select the artwork being displayed in this exhibition, and in no way endorses Mr D'Amelio's arrangement of her work."
In 2013, art dealer Larry Gagosian attempted to organize an exhibition of Noland's work at his eponymous gallery with curator Francesco Bonami. In the text accompanying an interview with Noland conducted the same year, author Sarah Thornton wrote that Noland had responded to the gallery's outreach by threatening to shoot Gagosian if he followed through on the exhibition, telling Thornton that she did not want to be "saved from obscurity." Noland added that "Artists go to Gagosian to die. It's like an elephant graveyard." When asked a decade later about the alleged incident, she said only that "I wasn't interested in having an unauthorized show." Noland also told Thornton that handling the issue of non-approved exhibitions or restoration of her work was "a full-time thing" that had impacted her time and ability to make new art. Noland's interview with Thornton – the artist's first in over a decade – was itself accompanied by a disclaimer requested by Noland that said the artist had not approved the text. In 2014, another disclaimer was posted at an exhibition featuring Noland's work at the Brant Foundation, saying that Noland "reserves her attention for projects of her own choosing" and "hasn't given her approval or blessing to this show."
In June 2015, Ohio-based art collector Scott Mueller filed a lawsuit in the Southern District of New York seeking to reverse his 2014 purchase of Noland's sculpture Log Cabin (1990) for $1.4 million; he stated that Noland had disavowed the work by not approving the extensive restoration of the piece. According to Mueller, the artist disavowed her sculpture after its sale to him, because she believed the work had been restored "beyond recognition." Michael Janssen, the owner of the gallery which sold the piece to Mueller, stated that Noland had not disavowed Log Cabin, saying that she "merely wanted the value to be depreciated". The restoration in question occurred after a long-term loan to Suermondt-Ludwig-Museum in Aachen, Germany, where the logs had deteriorated from 10 years of outdoor exposure. A conservator was consulted and hired to complete the restoration in Germany, where all the decayed wood was replaced by logs obtained from the same Montana source as the originals. Noland, who believes she should have been consulted about this, felt the extensively restored piece was essentially recreated, and was therefore an unauthorized copy of the original, violating her copyright protections as outlined in the Visual Artists Rights Act (VARA). Mueller's lawsuit was dismissed in 2016. After Noland filed her own lawsuit claiming damages under VARA, she became involved in increasingly complicated legal battles over the restoration of Log Cabin and the application of copyright law to the materials used in her sculpture, German vs. US laws, and her rights to copyright as a living artist. The United States Copyright Office later ruled that Log Cabin was ineligible for copyright protection because, as a simple wooden structure, the work "lacked sufficient original or creative authorship" as defined by U.S. copyright law, and the office "explicitly disregarded Noland's 'conceptual choices' in creating the work." Noland's lawsuit was also later dismissed, with courts deciding that her rights had not been violated.
2020s: Return to exhibiting new work
In 2021, Noland exhibited new work in New York for the first time in over twenty years. Her exhibition Cady Noland: THE CLIP-ON METHOD at Galerie Buchholz debuted four a-frame barricade sculptures and two chain-link fence sculptures, including one fence blocking the gallery's only window. She also covered the gallery floor with a gray carpet and showed several silk screen works from the 1990s featuring reproductions of descriptions from police officer training manuals of supposedly justified violent policing techniques. Several critics noted that the freshly installed industrial carpet emitted a distinct chemical smell in the gallery. The exhibition coincided with the self-publication of an artist's book of the same name documenting many of Noland's works, exhibitions, and writings, along with a range of sociological essays and articles she selected. Writing in The New Yorker, Johanna Fateman said the exhibition displayed an "oppressive mood of sordid Americana – the carceral harmonizing with the corporate."
Noland presented new work again in 2023 at a solo exhibition with Gagosian Gallery in New York, a decade after refusing Gagosian's earlier attempts to stage an exhibition of her work. The exhibition, staged in a small gallery space on the Upper East Side, included over a dozen new untitled works by Noland made from objects like filing cabinets, lucite tables, beer cans, bullets, police badges, and inert grenades, including several small objects encased in clear acrylic cubes, in addition to tape and vinyl markings on the gallery floor. Noland also exhibited a single historical work, Untitled (1986), consisting of a metal walker adorned with leather gloves, a holster, and other objects. Critic Isabel Ling wrote that the tape on the floor made the installation resemble a crime scene and said the pieces on view, much smaller than many of Noland's earlier installation works, represented "a turn toward the interior." The entirety of the exhibition was purchased by the private museum Glenstone.
In October 2024 Glenstone mounted a survey of Noland's work, created "in collaboration with the artist," according to the museum. The show included work from Glenstone's collection from every era of Noland's practice, including all the works she exhibited at Gagosian in 2023. Additionally, Noland installed several new objects around her most recent work, including industrial plastic pallets, a cast aluminum box branded with a Pinkerton logo, and a metal platform with a barcode identifying it as belonging to an Amazon warehouse. Saul Ostrow, reviewing the exhibition in The Brooklyn Rail, wrote that the show, along with Noland's other exhibitions of new work in the early 2020s, represented "her comeback tour."
Analysis and themes
Critics and art historians have used several terms to label Noland's style and artistic practice in relation to other artists working both before and during her time. Artist and writer Olivier Mosset said in 1989 that Noland's work was part of a second, less restrained generation of the Neo-geo (Neo-Geometric Conceptualism) movement. Mosset wrote that the layout of Noland's works has an "apparent casualness" that signals a questioning of the importance or centrality of the notion of the art object. Curator Ralph Rugoff included Noland's work in an exhibition in 1990 exploring what he called "pathetic art", which he described as art that "makes failure its medium"; critics also later termed this "abject art". Charles Hagen, writing in The New York Times in 1991, labeled Noland's work an example of a "recent resurgence in what might be called hardware art", grouping Noland with artists including Ashley Bickerton and Wolfgang Staehle. Critic Jack Bankowsky used the term "slack art" to describe Noland's work in Artforum in 1991, which he said was art that "depends on consciously courted chaos". Bankowksy identified Noland's piece Dirt Corral (1984-1985) – a work consisting of several decorative furniture panels arranged together on the floor – as the work that marked the beginning of this stylistic movement, which he wrote also included artists like Karen Kilimnik and Jack Pierson. Roberta Smith, writing in the Times, called Noland "a leading practitioner of a kind of 90's Process art sometimes known as scatter art".
Writing in 1993 in Texte zur Kunst about contemporaneous attempts by critics to define "scatter art", art historian Pamela M. Lee argued that Noland's work did not fit under this label, as the random-seeming nature of her installations was in fact the result of intentional choices; Lee further asserted that the term "scatter art" was an inapt description of the supposed movement which represented an attempt by critics to associate contemporary artists with an earlier generation of avant-garde artists like Robert Morris, Robert Smithson, and Barry Le Va. Art historian and critic Bruce Hainley has also pushed back on descriptions of Noland's work as "scatter art" or "pathetic art", writing that her work was "mistaken" as such in the 1990s but that her retrospective in 2018 reframed her as "an unusually consistent maker of discrete objects". Critic Lane Relyea, writing in 1991, included Noland among a group of artists making work in the legacy of Pop art but with a pessimistic tone, which he called "Neo-pop". Critics have also pointed to the scale of and industrial materials used in many of her works as examples of her utilization of the stylistic hallmarks of minimalism, often deployed for a purposefully sinister or controlling effect. Writers have also labeled her work an example of post-minimalist sculpture and installation. Writing in art press, curator Klaus Ottmann contended that Noland's work embodied what art historian Michael Fried had termed the "theatricality" of minimalism in his essay "Art and Objecthood"; Ottmann also argued that Noland's works must be understood in the context of their larger installation settings rather than as individual works.
Influence and legacy
Numerous critics, art historians, and artists have cited Noland as a significant influence on contemporary art beginning in the 1990s. Critic Roberta Smith has written several times about Noland's influence, saying that she had helped define a set of "fashionable parameters" for installation artists of the 1990s, which Smith described as "junk and juxtaposition – the devalued and the unexpected." Smith wrote in 2002 that Noland's exhibition in 1989 at American Fine Arts Co. marked "one of the earliest signs of change" in contemporary art's shift from the stylistic trends of the 1980s, saying that "Noland's contribution is unquestionable, but she is becoming even more mythic in her absence" from the commercial art world. Critic Jerry Saltz, writing in The Village Voice in 2006, said Noland was "the crucial link between late-1980s commodity art and much that has followed".
In 2007, New York magazine called Noland "The most radical artist of the eighties" and said that her work had "predicted a hundred other artists". Critics have cited a wide range of artists as working in Noland's stylistic legacy, including Jesse Darling, Diamond Stingily, Cameron Rowland, Andra Ursuța, Kelley Walker, Nate Lowman, Banks Violette, Rachel Harrison, Josephine Meckseper, Steven Shearer, Anna Sew Hoy, Liz Larner, Jon Kessler, Sam Durant, Matt Keegan, Helen Marten, Bozidar Brazda, and the collaborative work of Joe Bradley and Eunice Kim. Artists including Mary Heilmann, Johannes Kahrs, Cosima von Bonin, Meckseper, and Brazda have all themselves cited Noland as an inspiration or influence on their work.
Curator and professor Bill Arning, speaking in 2018, said that his students "shero worship her. The idea of someone who is that firm in her decision making, [who] can say no to all the cash and prizes."
Personal life
Noland has never publicly spoken at length or released information about her early life, biography, or personal life. There are only two known public photographs of the artist as an adult; in one of the images, taken at Documenta in 1992, she is covering her face with her hands. On several occasions when requested to provide photos of herself for publications, she has submitted images of herself as a child in lieu of more current photographs.
Art market
In 2011, Noland's work set the then-record for the highest price ever paid for an artwork by a living woman when Oozewald (1989), a silk screen work depicting Lee Harvey Oswald, sold at Sotheby's for $6.6 million. Noland's red silk screen on aluminum, Bluewald (1989), also depicting Oswald, sold for $9.8 million at Christie's in May 2015, setting a new auction record for the artist's work.
Exhibition history
Noland has staged numerous solo exhibitions in the United States and internationally. She staged a large number of shows in the late 1980s and early-mid 1990s, but stopped exhibiting for nearly 20 years beginning in the early 2000s. Noland's notable solo exhibitions include White Room: Cady Noland (1988), White Columns, New York; New West-Old West (1990), Luhring Augustine Hetzler, Los Angeles; Cady Noland (1994), Paula Cooper Gallery, New York; Cady Noland (2018-2019), Museum für Moderne Kunst, Frankfurt, the artist's first retrospective exhibition; Cady Noland: THE CLIP-ON METHOD (2021), Galerie Buchholz, New York, the artist's first exhibition of new work in the United States in over twenty years; and Cady Noland (2023), Gagosian Gallery, New York.
Noland has also participated in a wide list of notable group exhibitions, including the 44th and 50th Venice Biennale (1990, 2003); Whitney Biennial (1991); and Documenta 9 (1992).
Publications
Noland, Cady (1989). "Towards a Metalanguage of Evil". Balcon (in English and Spanish). No. 4. Translated by Vázquez de Parga, Consuelo. pp. 70–85. OCLC 1055661925. Revised and expanded version published 1992, in Cady Noland: Towards a Metalanguage of Evil = Zu einer Metasprache des Bösen (in English and German). Ostfildern: Hatje Cantz Verlag. ISBN 9783893225187. OCLC 47715800.
Noland, Cady; Anastas, Rhea, eds. (2021). Cady Noland: The Clip-On Method. New York: Cady Noland, Rhea Anastas, and Robert Snowden. ISBN 9780578903149. OCLC 1261635697.
Noland, Cady, ed. (2025). Cady Noland: Polaroids 1986–2024. New York: Gagosian Gallery / Rizzoli International Publications. ISBN 9781951449957. OCLC 1536326372.