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Drawing extensively from Wrights unpublished correspondence, Kathryn Smith challenges the preconceived notion of Wright as a self-promoter who displayed his work in search of money, clients, and fame. She shows how he was an artist-architect projecting an avant-garde program, an innovator who expanded the palette of installation design as technology evolved, and a social activist driven to revolutionize society through design. While Wrights earliest exhibitions were largely for other architects, by the 1930s he was creating public installations intended to inspire debate and change public perceptions about architecture. The nature of his exhibitions expanded with the times beyond models, drawings, and photographs to include more immersive tools such as slides, film, and even a full-scale structure built especially for his 1953 retrospective at the Guggenheim Museum. Placing Wrights exhibitions side by side with his writings, Smith shows how integral these exhibitions were to his vision and sheds light on the broader discourse concerning architecture and modernism during the first half of the twentieth century.

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"This invaluable book fills a huge lacuna in our understanding of Wright and his work. In Smith´s hands, each exhibition presented here becomes a self-contained story that contributes to the larger narrative of Wright´s relentless determination to advance his ideas." - Jack Quinan, author of Frank Lloyd Wright´s Martin House: Architecture as Portraiture

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Kathryn Smith is an architectural historian who specializes in Frank Lloyd Wright. Her books include Frank Lloyd Wright: American Master; Frank Lloyd Wright, Hollyhock House, and Olive Hill: Buildings and Projects for Aline Barnsdall; and Schindler House. She lives in Santa Monica, California.

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