Lady of Commerce - wooden. Hers is a transparent beauty, her eager sounds, her infinite and clamorous land and river, ocean and island, earth and sky...all contained, bottled for delivery to open an hole, a commerce so deep while large her arms fool stretched too wide and her sulfurous halo - a ring of glass, metal, stone retire to a sun of fire (2012), National Museum of Women in the Arts, Washington, D.C.
Below is a list of some of Banerjee's solo and group exhibits.[7]
1998: Home within a Harem, Colgate University Gallery, NY
2000: Auf Weidersehen, Admit One, Chelsea, NY[8] — Banerjee uses Asian and Western materials. The exhibit has plastic tubing that runs along the walls and ending which end with rotten-looking fruit and leaves. The plants in the show represent tropical plants that were taken by western settlers to bring to other countries; some of the plants didn't translate well to other land while some blossomed. The room is also filled with a thick webbing which is meant to represent a digestive system, and within the system colorful ritual powder and spices are captured.[8]
2007: "Where the Wild Things Are" ...is no place at all and all places that cannot be lived in but visited, realized out of our careful, playful and tenacious tourism of others, realized as our mobility wanders too far, Galerie Volker Diehl, Berlin (2007)[9][7]
2014: Disgust, L.A. Louver, Venice, CA — Her four sculptures in this show are made from an uncountable number of small objects that are wired and strung together. She uses cowry shells, rooster feathers, gourds, acrylic horns, glass vials, silk, and many other objects.[14] Her sculptures could be either human or animal, still life or moving. It seems as though Banerjee does not look through junk to find materials for her art, but instead will selectively choose what she wants by ordering her materials off of specialty sites. This selective process she uses emphasizes the global culture of her art, and how she has many different pieces from all over the world, all of which form one cohesive work of art.[15]
2015: Migrations Breath, OTA Fine Arts, Gillman Barracks, Singapore[16] — Colorful yet suggestive pieces of art, which seem to change with different angles or positions. She uses many objects in her works such as Indian sarees, glass bottles, and seashells. Critics have suggested that some of the names of Banerjee's artwork carry sexual implications. For example, the piece She Drew A Premature Prick and many of the pieces have been suggested to represent reproductive organs. Banerjee has said that she enjoys the way that artwork can be fluid and how one's perspective could change with something so simple as wind blowing.[6]
2019: Rina Banerjee: Make Me a Summary of the World, Pennsylvania Academy of the Fine Arts, Philadelphia;[17] Traveling to San Jose Museum of Art, San Jose, CA; Fowler Museum at University of California, Los Angeles, CA; Frist Art Museum, Nashville, TN; Nasher Museum of Art at Duke University, Durham, NC
2019: Rina Banerjee: Blemish, Hosfelt Gallery, San Francisco
2020: Irresistible Earth, an uncontrollable and unconditional love is bestowed to us upon birth. Love for nature infinitely ripening, delicious and dangerous, their fruits, a fermented and fresh gorgeous beauty…, Galerie Nathalie Obadia, Brussels, Belgium
2020: Vapor, Thread, Fire and Earth, between ground and sky Masculine Mythologies and Feminine Escapes, Museum of Contemporary Art (MOCA), Jacksonville, FL
2020: Make Me A Summary of the World, Traveling Solo Retrospective: curated by Jodi Throckmorton and Lauren Dickens, Frist Art Museum, Nashville, TN
^Vikram, Anuradha (2017). Decolonizing culture: essays on the intersection of art and politics (First ed.). San Francisco: Art Practical + Sming Sming Books. pp. 103–105. ISBN9780998500652. OCLC1007152194.
^Schoonmaker, Trevor (2023). Spirit in the land: Exhibition, Nasher Museum of Art at Duke University, Durham, North Carolina, 2023. Durham, North Carolina: Nasher Museum of Art at Duke University. ISBN978-0-938989-45-5.
