Polly Apfelbaum has been showing consistently in New York and abroad since her first one-person show in New York in 1986. A major mid-career survey of her work opened in 2003 at the Institute for Contemporary Art in Philadelphia. The show traveled through 2004 and a catalogue surveying fifteen years of her work was published by the ICA Philadelphia.
Her work has been featured in important group exhibitions including: Regarding Warhol: Sixty Artists, Fifty Years, Metropolitan Museum of Art, New York, (2012); Comic Abstraction and Lines, Grids, Stains, and Words, both at the Museum of Modern Art, New York, (2007); Pink, Galerie Mirchandani + Steinruecke, Mumbai, (2007); Welcoming the Flowers, with John Giorno, Senior & Shopmaker, New York, (2007); Extreme Abstraction, Albright-Knox Art Gallery, Buffalo, (2005); The Shape of Colour, Art Gallery of Ontario, Toronto, (2005); A Kind of Bliss, The Drawing Room, London (2004); Flowers Observed, Flowers Transformed, The Andy Warhol Museum, Pittsburgh (2004); Lodz Biennale, Lodz, Poland, (2004); and The Ideal City, Bienal de Valencia, Spain (2003).
Her work is in the collections of The Museum of Modern of Art, New York; The Whitney Museum of American Art, New York; Brooklyn Museum of Art, New York, The Los Angeles County Museum of Art, Los Angeles, Albright-Knox Art Gallery, Buffalo, NY; The Henry Art Gallery, Seattle; The Dallas Museum of Art, Dallas, Philadelphia Museum of Art, Philadelphia; and the National Academy Museum, New York. Apfelbaum has received important grants and awards, including the Rome Prize, a Guggenheim Fellowship, an Academy Award from the American Academy of Arts and Letters, a Richard Diebenkorn Fellowship, a Joan Mitchell Fellowship, an Artist’s Fellowship from the New York Foundation for the Arts, an Anonymous Was a Women Award and a Pollock-Krasner Foundation grant.
Significant group exhibitions from her earlier career include: Sense and Sensibility: Women and Minimalism in the 90’s, The Museum of Modern Art, New York, (1995); Painting Outside Painting, 44th Corcoran Painting Biennial, Corcoran Museum of Art, Washington, D.C., (1996); Painting-The Extended Field, Magasin 3, Stockholm, Sweden, (1997); Other, 4th Biennale D’art Contemporain de Lyon, France, curated by Harald Szeemann, (1998); Everyday 11th Biennale of Sydney, Australia, (1998); Postmark: An Abstract Effect, Site Santa Fe, NM, (1999); Operativo, Museo Rufino Tamayo, Mexico City, (2001); Sculpture as Field, Kunstverein Gottingen, Gottingen, Germany, (2001); The Eye of the Beholder, Dundee Contemporary Arts, Dundee, Scotland, (2002); and As Painting: Division and Displacement, Wexner Center for the Arts, Columbus, OH, (2002).