As the Palm Springs Art Museum unveiled its vibrant, immersive retrospective The Art and Design of Howard Smith, the spotlight turns not only on a groundbreaking American artist—but also on the departure of the museum’s visionary leader, Adam Lerner. After four transformative years, Lerner’s final curtain call comes with the opening of one of the most ambitious exhibitions in the museum’s history.
The exhibit, which runs through February 23, 2026, is the first major U.S. retrospective of Black American artist Howard Smith in nearly four decades. It brings together textiles, ceramics, and commercial design pieces—many never before seen in America—from an artist who found creative sanctuary in Finland after fleeing racism in 1960s America.
But the story behind the exhibition is just as compelling as the art on the walls. It’s a story of cultural rediscovery, curatorial innovation, and leadership that dared to reimagine what a regional art museum could—and should—be.
The Vision Behind the Show
Lerner, who stepped into his role at the height of the COVID-19 pandemic, says the Howard Smith project was one of the first major ideas he pursued. “I started working on this within weeks of moving to Palm Springs,” he says. “It became a personal and professional mission.” Alongside Director of Exhibitions Rachael Faust, Lerner traveled to Finland, immersing himself in Smith’s studio and legacy, eventually partnering with the Espoo Museum of Modern Art to bring the project to life.
That four-year journey culminates in an exhibit that doesn’t just show Smith’s work—it tells his story. Designed with narrative intention, the exhibition leads viewers through a visual autobiography, from Smith’s early silkscreens and textiles to his later ceramics and assemblages. A scale model of the exhibit, on display at the entrance, reflects the team’s meticulous planning.
“There was a strong narrative component to this show,” says guest curator Steven Wolf. “It’s designed like a storybook—you’re learning about the artist’s life through the rhythm and emotion of the layout.”
Creating Space for Meaning
One of the most poignant curatorial decisions was to give certain pieces room to breathe. A 1985 stoneware piece, Untitled, hangs alone on a wall—originally planned as part of a group, but ultimately allowed to stand solitary in quiet strength. “By removing surrounding works, it blossomed,” Wolf says.
Color plays a central role, too. Each gallery glows with a distinct palette—pop yellow, lemon, purples, oranges, soft greens—many pulled from Smith’s own design archive, including a 1967 student housing project in Finland. Lighting, still being fine-tuned on the eve of opening, was tailored to the fragility and feel of each material.
“Lighting makes art come alive,” says Interim CEO and Chief Curator Christine Vendredi. “But it also must respect the work. We’ve tried to create something emotional, immersive, and respectful.”
Reframing Everyday Design as Art
Smith’s work blurs the lines between fine art and design. His curtains, plates, and household ceramics—mass-produced in Finland—are presented not as utilitarian objects, but as cultural artifacts with aesthetic power. One standout: The Makeba Curtain, a tribute to singer and activist Miriam Makeba, hangs in full, billowing elegance, honoring both its design legacy and cultural resonance.
“These aren’t paintings,” says Wolf. “They’re meant to move, to breathe. We wanted them to feel like they exist in their natural environment.”
The ceramics gallery is another revelation. Plates, bowls, and tile works—once functional decor—are displayed at eye level, elevated in presentation and significance. “It’s a theatrical nod to the postwar middle-class aesthetic,” Wolf adds. “For many, these objects were the only art in their homes.”
A Legacy Beyond the Gallery Walls
For Lerner, the Smith exhibition is a personal coda to his time in Palm Springs—a period marked by bold changes. From expanding educational outreach to spotlighting the region’s LGBTQ+ and racially diverse communities, he challenged the museum to reflect the full spectrum of its audience.
“Palm Springs presents itself as a luxury paradise,” Lerner notes. “But this valley has real disparities. We worked hard to rebuild trust—especially with audiences of color. A 21st-century museum should be responsive to its community. How can you not reflect LGBTQ culture in Palm Springs?”
Lerner’s leadership sparked a series of modernizing moves at the museum: fresh exhibitions, expanded public programming, and a team with renewed vision. “I was lucky to come in during a crisis,” he says. “It gave me the chance to rebuild.”
Now, as he returns to Denver to focus on family and future possibilities, Lerner leaves the museum at a creative high point. A national search is underway for his successor, while Vendredi continues steering bold new programming—next up is Modern Women: The Influencers Who Shaped Palm Springs, opening May 24, which will spotlight overlooked female architects of the mid-century era.
A Farewell Framed by Art
Back in the galleries, the Smith exhibit hums with life—textures, colors, light, and history merging into something deeply human. It’s a fitting farewell for an executive director who helped the Palm Springs Art Museum find its new voice.
“I came for this opening, even though my son was just born,” Lerner says, smiling. “Because this is one of the most meaningful things I’ve ever done.”
As Howard Smith finally takes his place on the American stage, so too does a museum transformed—ready for its next act.
