https://images.prismic.io/wellcomecollection/aBNH__IqRLdaByIi_SDP_EP002908_250407_1020.jpg?auto=format,compress&rect=0,209,4000,2250&w=3200&h=1800

1880 THAT, an exhibition by Christine Sun Kim and Thomas Mader at Wellcome Collection. Gallery Photo: Steven Pocock

1880 THAT Stop 1 How to use this guide - QR code users.mp3

1880 That BSL Videos 01 Introduction to access resources for 1880 THAT landscape edit 2

Hello and welcome to the first stop of this guide to '1880 THAT'. My name is Laurie Britton Newell, I am the curator of the exhibition and I am going to explain how this guide works.  

This is stop 1 of 11 stops. The stops are approximately 2-4 minutes long. 

This first stop provides information about access resources. To skip to information about the exhibition go to stop 2, which is an introduction to the exhibition.  

In stops 3-11, I talk about the artworks in the exhibition. I explain the artists’ ideas and provide some visual description of each artwork. 

You have accessed the guide by scanning a QR code. You can also access the audio information by picking up one of the handheld players and a headset from the freestanding pick-up station, where Stop 1 is located.   

A white tactile floor line is designed to support wayfinding between the stops. When you arrive at each artwork or its interpretation text panel, this is indicated on the floor by a grey square with raised dots. There are also grey squares with raised dots to indicate the location of benches for the film works. 

You will find a tactile QR code and stop number within arm's reach of the grey square. The QR codes are printed in black raised ink on the bottom right corner of each interpretation panel. They also have a tactile number. 

If you need any assistance, there are members of our team in the gallery wearing a black Wellcome Collection top.  

The floor line in the lobby starts at the freestanding pick up point. In addition to the handheld devices, here you will find a screen with a British Sign Language introduction, and shelves with several different printed guides. These are: a brown A5-sized gallery guide; a white, A4-sized large print guide that includes a map of the floor line and a list of all the digital guide stops; and a green, A4-sized visual story booklet. This provides pre-visit information about the exhibition, using images, symbols and short written explanations.  

As you follow the tactile floor line into the gallery, there is a bench on your right hand side. There is more seating throughout the exhibition, which will be indicated in some of the stops.  

The tactile floor line will finish at Stop 11 at the last work in the exhibition.  

The next stop is an introduction to the exhibition. With the free-standing pick-up station on your left, follow the tactile floor line to the tactile square for Stop 2, which is just inside the exhibition entrance, on the wall to your right. Note that the glass doors are quite heavy, and the flooring inside the exhibition is wooden.

1880AudioStop 2.mp3

1880 That BSL Videos 02 Introduction to the exhibition landscape edit 2

Hello I am Laurie Britton Newell the curator of 1880 THAT, which is a new exhibition by the artists Christine Sun Kim and Thomas Mader. The artwork in the exhibition explores sign language’s relationship to spoken language, and seeks to draw attention to historic decision-making that still influences how we communicate today.  

The exhibition’s title, '1880 THAT', is a reference to The Second International Congress on Education of the Deaf, which was held in Milan in 1880. At the conference the attendees, who were predominantly hearing people, discussed whether oral education should replace sign language in Deaf schools. In the aftermath of the Milan conference the teaching of sign language was sidelined and suppressed, resulting in exclusion and stigma for Deaf people around the world. The impacts of this are still felt to this day. 

The word THAT in the context of the exhibition title is an American Sign Language term that adds emphasis to a statement. It can mean different things such as: ‘That’s what I mean!’  and ‘Enough said’. Here it’s used to add significance to the date 1880, essentially underlining that the Milan Conference was a very significant event in Deaf history. 

There are nine artworks in the exhibition that range from large moving sculptures to smaller scale drawing and films. The gallery walls are painted white, and the atmosphere is bright and spacious. There are several freestanding curved walls that are arranged at different angles in the middle of the gallery. There are window apertures within them that allow you to look through at different artworks and across the gallery.  

Kim and Mader’s artworks use word-play, visual puns and are full of humour. They want to draw attention in a very direct way to the ripple effects of the Milan conference, to highlight the dangers of what happens when there is a disconnection between policymaking and the people impacted by those decisions.  

Several artworks in the exhibition refer to Alexander Graham Bell, the inventor of the telephone. He was also involved in Deaf education. He was a prominent spokesperson who argued against sign language and for this reason he is often regarded negatively by Deaf people.

The '1880 THAT' exhibition addresses the fundamental human right to communicate and asks us to consider what it means to live with the threat of losing one's language. The exhibition also invites you to explore new possibilities for understanding between signed and spoken languages.

1880AudioStop 3.mp3

1880 That BSL Videos 03 1880 That landscape NEW edit 2

There is no plaque on the building where the Milan Conference took place. Kim and Mader have created a commemorative brick to contest the erasure of this pivotal moment in Deaf history.   

Here, two of these bricks have been installed in the wall of the gallery. The bricks are a strong red terracotta colour. One side of the brick is stamped with the date 1880 and the other side of the brick stamped with the word THAT. The numerals and letters have been designed in a typeface called Dia - a contemporary design inspired by the early sans serif typefaces of the 1800s. The artists wanted to subtly make the point that although this event happened in the past it still affects the present.

The time of the Conference was defined by a Victorian understanding of manners, modesty and restrained expression. This goes some way to explain why sign language was viewed to be crude and immodest by people like Alexander Graham Bell and his contemporaries.  

Another significant element of urban life in this era, especially in London, was the manufacturing and use of bricks. This led the artists to think about the significance of bricks as building blocks of cities but also to allude to the idea of the building blocks of language. 

Bricks also appear in some other works in the exhibition.

1880 THAT Stop 4 ATTENTION.mp3

1880 That BSL Videos 04 attention R landscape edit 2

This work is called 'Attention'. The title is spelt in capital letters. 

This large inflating sculpture is about 5 meters long. It explores the different ways in which attention can be directed and received by people in Deaf and hearing cultures.  

In American Sign Language one of the most common ways to attract attention is by waving downwards with one hand and tapping in a person's field of vision. Another way is to point. 

The giant arm in front of you has a waving hand. The arm is bright red and made of a thin nylon fabric. The artists chose red because of its connotations with alerting people to danger, like a stop sign.  

The arm emerges from the wall on the left and points towards the back wall of the gallery.  

Unlike the other elements of the exhibition, the arm is at a diagonal to the walls. It’s orientated to point in the direction of the Houses of Parliament in Westminster.  

The arm slowly inflates and deflates on a timer and the sound you can hear is the fan that is blowing air into the arm. An area on the back of the gallery wall looks as if it has been worn away by the repetitive action of the hand. This symbolizes the ongoing need to advocate for Deaf rights and inclusion. When the arm is deflated it represents the exhaustion of constantly needing to do this.

1880AudioStop 5.mp3

1880 That BSL Videos 05 F on Eye landscape edit 3

This animation is called 'F on Eye'. ‘I’ is spelt ‘e-y-e’. In American Sign Language the sign for F also means 'peep'. 

It is filmed from the perspective of a person inside an apartment peering through a peephole in the front door. The person appears to be gripped by fear but compelled to keep looking. In the hallway, an ominous nose-shaped creature seems to be advancing towards the door at slow but steady speed.  

Since the animation has no sound the subtitles carry a lot of the meaning.  Like a horror movie soundtrack, the captions convey the growing tension, and an atmosphere of suspense and unease. The captions are written from the perspective of the apartment itself: The lock feels flimsy, the doormat doesn’t want to welcome anymore.

The artists chose to make the threatening character in the shape of a nose because while it is quite ridiculous it is also sinister. The nose is intended to symbolise decision-makers such as Alexander Graham Bell who tried to suppress sign language. 

The peephole perspective from inside the apartment communicates a feeling of a home under threat, a feeling of being vulnerable in one's own home. 'F on Eye' asks us to consider what it feels like when this safe space – one’s native language – is under attack.

To the right of this stop there is a set of headphones on the wall, where scene by scene audio description of the film can be heard.

 Please follow the tactile line to the next stop to reach the bench situated in front of the film.

1880AudioStop 6.mp3

1880 That BSL Videos 06 look up my nose landscape edit 2

This next work is called 'Look Up My Nose'. 

The inventor Alexander Graham Bell was a strong advocate for a phonetic system called Visible Speech. This system was created by his father Melville Bell, and was used to teach Deaf people to speak with their voices. 

The shape of this sculpture has been modelled from photographs of Alexander and Melville’s noses. It looks like a very strange oversized cluster of noses that are hanging down from the ceiling like a bell. 

It is about two metres in diameter. It is a pale green colour. The colour was chosen by the artists to symbolise the kind of green you might find in a hospital because they wanted to allude to the medical perspective on deafness. A view that sees deafness only as something that needs to be cured.

The work is playing with the English saying to “look down one’s nose”, meaning to think of oneself as superior. It refers to the Bells’ disdain for sign language users.

Although it's not always associated with sign language, the nose does play an important role in conveying grammar, vocabulary and nuanced expression in sign language. For example, in British Sign Language, an upwards flick of the index finger off the nose can mean ‘stuck-up’. 

This sculpture was designed with an audio engineer and drum maker, and it has an automated drum stick inside that plays a sequence of beats on a timer, every 10 minutes.  It has been designed to create a strong bass frequency while simultaneously pushing air out through the nostrils. 

If you follow the tactile line to the next stop you will be in the best place to feel the vibrations and the reverberating air from the nostrils as you stand beneath it.

1880AudioStop 7.mp3

1880 That BSL Videos 07 running gag landscape edit 2

It is a framed pencil drawing about a metre square. The drawing depicts 254 noses drawn in cartoon style, in 17 rows. The bottom rows represent the 164 participants who attended the Milan Conference. They are drawn in monochrome pencil lines. 

All the noses apart from one are drawn with a condescending snort, or puff of air coming out of the nostrils. This is meant to represent the disdain that the majority of attendees had towards sign language.  

At the bottom right of the drawing, the only nose that is not snorting represents the one Deaf person who attended the conference, an American teacher called James Denison.  

The additional rows of noses towards the top of the drawing change from monochrome pencil lines to shades of green. It is the same pale hospital green that appears in the previous artwork.  It was chosen by the artists to allude to the medical perspective on deafness. These noses symbolise the followers of the oral system who long after the conference ended, continued to suppress sign language education.

The noses seem to float out of frame at the top of the picture in order to demonstrate the ongoing effects of the conference that are still felt today.

1880AudioStop 8.mp3

1880 That BSL Videos 08 Whats Left landscape edit 2

Here the artists have reimagined four short scenes from the American children’s TV show 'Sesame Street'. It features the character Lefty the Salesman who was known for selling letters of the alphabet in a suspicious way to a character called Ernie. 

Over four scenes Lefty, played by Kim, tries to sell a series of items to Ernie, who is played by Mader, including an invisible ice cream cone, some air, a notebook and an empty box.  

Kim is dressed in a trench coat and a black hat and has a painted purple nose. Mader is in a black beanie hat and a stripy jumper and his nose is painted red. The lower halves of their bodies are hidden by a brick wall, which adds to the puppet show feel. It is filmed against a strong blue background that adds to the children’s TV aesthetic. 

'Sesame Street' was launched in 1969 and was the first mainstream TV show to incorporate sign language, and bring it into millions of homes worldwide. 

Linda Bove, a Deaf actress and one of the original cast members of 'Sesame Street', appears in 'What’s Left' as a celebrity cameo. Linda introduces each scene in the film and greets people in American Sign Language.

Kim and Mader themselves are not using American Sign Language, they set themselves the acting challenge of not using signs, just to use body language and facial expressions. This stems from the idea that when people are under threat or in hiding they rely more on hand gestures and body language.

The dialogue is conveyed through the subtitles.

The film refers to the absurdity of a language being judged as illegal, and how sign language communities had to exist underground following the Milan Conference.

To the right of this stop there is a set of headphones on the wall where a scene by scene audio description of the film can be heard.

Please follow the tactile line to the next stop to reach the bench in front of the film.

1880 THAT Stop 9 ATTENTION.mp3

1880 That BSL Videos 09 attention L landscape edit 2

This is the second part of the 'ATTENTION' sculpture. It is a giant red arm that has a pointing finger and represents a second way of attracting attention in  American Sign Language.

This large red arm is pointing towards Milan. The Milan Conference is the abbreviated name for ‘The Second International Congress on Education of the Deaf’ which took place in 1880 in Milan, Italy.  

The participants at the conference debated whether oral education should replace sign language for Deaf people. 164 people attended from different countries such as the UK, USA, and France, but only one participant at the conference was Deaf.

Although there were attendees who argued in favour of sign language, the majority voted in favour of oral education. The aftermath of the conference saw the systemic suppression of sign language and the decline of sign language users around the world.

The arm slowly inflates and deflates on a timer and the sound you can hear is the fan that is blowing air into the arm. An area on the back of the gallery wall looks as if it has been worn away by the pointing finger. This symbolizes the ongoing need to advocate for Deaf rights and inclusion. When the arm is deflated it represents the exhaustion of constantly needing to do this.

1880 THAT Stop 10 NOT CROSS.mp3

1880 That BSL Videos 10 I am not cross landscape NEW edit 2

This work is called 'NOT CROSS'. It is a red brick wall that is 11 metres long. The words I AM NOT CROSS are spelt out across it with capital letters that stand out slightly in relief from the surface of the brick. The letters are three metres tall.  

The work is about the different ways written language and body language communicate. Capital letters, italics and exclamation marks are the only ways written words can express the intensity of a feeling. But writing essentially removes emotion from language.

People can make a statement like ‘I am not cross’ while their body language conveys the opposite impression, essentially saying one thing when they mean another.

This disconnection between words and body language is something that the artists Kim and Mader have been working with as a subject in their work for some time.

Facial expressions are a key grammatical factor in sign language and this is something that hearing students learning sign language often struggle with. The level of intensity of a facial expression can often mean a world of difference to what is being expressed. Skilled sign language speakers can detect even the slightest inflection. Talking to a person who is not as skilled can lead to frustration and feel like talking to the proverbial brick wall.

1880 THAT Stop 11 Eye Spy.mp3

1880 That BSL Videos 11 Eye Spy landscape edit 2

This animation is called 'Eye Spy'. In the title ‘I’ is spelt 'e-y-e'.  It is very short and it plays on a repeating loop a bit like a meme. 

The work relates to an American Sign Language expression ‘If only you could see things through my eyes’. The sign is executed by making the gesture of passing a set of eyeballs back and forth between people.  

In the animation two transparent figures of a man and woman who represent Kim and Mader, pass a set of eyeballs back and forth between them endlessly. The transparency of the figures makes the movement of the eyeballs inside the skulls visible. They are jelly-like and the animation has a slightly scientific feel to it.

This gesture and its message resonate with the overarching theme of the exhibition: if the decision-makers at the Milan Conference could have seen through the eyes of the Deaf people for whom they were making decisions, they might have come to a different conclusion. 

'Eye Spy' connects to larger themes of patience, empathy and understanding.

1880 THAT: Christine Sun Kim and Thomas Mader

‘1880 THAT’ is an exhibition by the artists Christine Sun Kim and Thomas Mader. In their artworks they use humour and wordplay to explore sign language’s relationship to spoken language, and to draw attention to historic decision-making that still influences how we communicate today.

Please speak to a member of staff if you need help.

The guide contains a tour of the exhibition available in audio description (AD) and British Sign Language (BSL).

The guide has 11 stops, each around three minutes long.

Use your phone to scan the QR code, and follow the track numbers.

QR codes also provide access to all exhibition texts in screen-readable formats.

You can use our WiFi for free. Turn your device's WiFi on and select 'Wellcome Guest'. The first time you connect you will be asked to enter your email address. Then select 'Connect' to accept our terms and conditions.

AD can also be accessed using the touch-button players.

These definitions provide wider context for some of the terminology used in '1880 THAT' and the programme that accompanies it.

Sign languages use hands, facial expressions, mouth and body movements to communicate. There are over 300 different sign languages globally. They each have their own vocabulary and grammar and are distinct from written languages. There are regional dialects and signs that are unique to individuals and families.

These were systems designed to teach Deaf people to communicate through lip-reading and speech, rather than sign language. Oral education grew in popularity in the late 19th century.

The abbreviation for American Sign Language.

The abbreviation for British Sign Language.

In the context of the exhibition title, 'THAT' is an ASL term that adds emphasis to a statement. It can mean different things, such as: "That's what I mean!", "That's why", or "Enough said". It is used in the title of the exhibition to add significance to the date 1880 and to highlight the impact of the Milan Conference on Deaf communities.

This is the abbreviated name for the Second International Congress for Education of the Deaf, which took place in 1880 in Milan, Italy. The participants debated whether oral education should replace sign-language education for Deaf people. 164 people attended the conference from different countries, including the UK, USA and France, but only one participant was deaf. Although there were attendees who argued in favour of sign language, the majority voted in favour of oral education. The aftermath of the conference saw the systemic suppression of sign language.

The inventor, who is credited with patenting the first telephone was a leading voice opposing the teaching of sign language at the time of the conference. He advocated for a system called Visible Speech - created by his father, Alexander Melville Bell - that attempted to teach Deaf people to communicate with their voices. Both men were married to deaf women. Some of Bell's ideas were connected to eugenics - a prejudiced and incorrect theory that humans can be improved through selective breeding of populations.

Deaf people have preferences about whether they use 'D' or 'd' to describe themselves. Both 'deaf' and 'Deaf' are used here depending on individual preference.

This is a term used to describe Deaf people who identify as a linguistic minority and who use sign language as their main form of communication. They also share life experiences, beliefs, attitudes, history and other cultural traditions.

'1880 THAT' brings together new and recent works by Christine Sun Kim and Thomas Mader that explore the idea of language as a home – an essential place of belonging – and what it means to live with the threat of losing one's language.

The Second International Congress on Education of the Deaf was held in Milan in 1880. Although the conference attendees were predominantly hearing people, it was declared that oral education should replace sign language in Deaf schools. 

The inventor Alexander Graham Bell was also a prominent supporter of oralism. In the years following the conference, sign language was sidelined and suppressed, resulting in exclusion and stigma for Deaf people around the world.

Kim and Mader's playful artworks use humour to draw attention to the conference on Deaf education and identity. Through film and sculpture, '1880 THAT' addresses the fundamental right to communicate, and explores new possibilities for understanding between signed and spoken languages.

There is no plaque on the building where the Milan Conference took place. Kim and Mader created these commemorative bricks to contest the erasure of this pivotal moment in Deaf history. The bricks are stamped with '1880' on one side and 'THAT' on the other. The choice of typeface, a modern reinterpretation of a design from the early 19th century, conveys the idea that while this event happened in the past, it still affects the present. Brick manufacturing was crucial to urban expansion in the Victorian era, at the time that the conference took place. Through this work the artists make a connection between bricks as the building blocks of cities and of language.

This moving sculpture explores the ways in which attention can be directed and received by Deaf and hearing people. In American Sign Language (ASL), one of the most common ways to attract attention is by waving downwards with one hand and tapping in a person's field of vision, while another way is to point. The giant inflatable red arm at this end of the gallery waves towards the Houses of Parliament for the attention of policymakers in government.

The erosion on the wall symbolises the ongoing need to advocate for Deaf rights and inclusion. When the arm is deflated, it represents the exhaustion of needing to do this.

In the ASL sign for 'F', the fingers form a peephole. The animation is filmed from the perspective of a person gripped by fear, peering through a peephole in a door from inside an apartment. In the hallway, an ominous nose approaches the door at varying speeds. Like a horror-movie soundtrack, subtitles convey the growing tension, creating an atmosphere of suspense and unease. The nose symbolises decision-makers such as Alexander Graham Bell, who tried to suppress sign language. 'F on Eye' is about vulnerability and the concept of language as your home. It asks us to consider what it feels like when this safe space – one's native language – is under attack.

Digital animation, no audio, 3 minutes and 12 seconds, 2025

The inventor Alexander Graham Bell was a strong advocate for lip-reading and a system called Visible Speech, created by his father, which sought to teach Deaf people to communicate with their voices. The shape of this sculpture has been modelled from photographs of both men's noses. The work plays with the English saying to "look down your nose", meaning to feel superior, and refers to the Bells' disdain for sign language users. The nose also plays an important role in sign language, conveying grammar, vocabulary and nuanced expression. The sculpture was designed with an audio engineer and drum-maker. An automated drumstick creates a strong bass frequency while simultaneously pushing air out through the nostrils of the bell. It plays a series of four beats to represent '1,8,8,0' and 'T,H,A,T'. Stand underneath it to hear and feel the vibrations.

Fibreglass, drum skin, automated drumstick, 2025

Pick up headphones from the wall for scene-by-scene audio description for this artwork.

The rows of noses at the bottom of this drawing represent the participants who attended the Milan Conference. All the noses apart from one are drawn with a condescending snort, highlighting the disdain that most attendees had towards sign language. One nose at the bottom right of the drawing represents the only Deaf person who attended the conference, an American teacher called James Denison. As the noses progress towards the top of the drawing, they change to shades of green. They symbolise the followers of the oral system who long after the conference continued to supress sign language education. The artists chose this colour as it is often used in hospitals, alluding to the medical perspective on deafness, which considers it as something that needs to be cured.

Pencil and coloured pencil on paper, 2024

There is scene-by-scene audio description for this artwork. Please pick up headphones next to the work.

In this new film, Kim and Mader reimagine the 'Sesame Street' character Lefty the Salesman, who was known for selling letters of the alphabet in a suspicious way to the character Ernie. Here Lefty tries to sell Ernie a series of items, including an invisible ice-cream cone, some air, a notebook, an empty box and a melting snowman. The film refers to the absurdity of language being judged as illegal, and how sign-language communities were forced underground. Launched in 1969, 'Sesame Street' was the first mainstream children's TV show to incorporate sign language, and brought it to millions of homes worldwide. Linda Bove, a Deaf actress and one of the original cast members of 'Sesame Street', appears in a celebrity cameo introducing each episode of the film.

Digital film, no audio, 20 minutes 08 seconds, 2025

This oversized inflatable arm represents another way of attracting attention in American Sign Language. The finger points in the direction of Milan, literally drawing attention to the significance of the Milan Conference within Deaf history. The pointing has created an erosion on the wall as the sculpture inflates and deflates in an ongoing cycle. This represents the endurance required to repeatedly advocate for recognition and inclusion for sign language communities, and the resulting exhaustion.

This large-scale wall work spells out "I AM NOT CROSS" in brick lettering. It refers to the misunderstanding that can happen between spoken and signed languages, as well as the differences in body language and the written word. People can make a statement such as "I am not cross", but their body language can convey the opposite, saying one thing when they mean another. Facial expressions and their intensity are a key grammatical factor in sign language, and radically change the meaning of what is being expressed. This often eludes sign-language learners and interpreters, leading to frustration for Deaf people, making them feel like they are talking to the proverbial "brick wall".

In this short animation, an American Sign Language expression, "If only you could see things through my eyes", is visualised by two transparent avatars. These characters pass a set of eyeballs back and forth between them endlessly. This sequence resonates with the overarching theme of the exhibition: if the decision-makers at the Milan Conference could have seen through the eyes of Deaf people, they might have come to a different conclusion.

Digital animation, no audio, 2 minutes and 19 seconds, 2025

Join Damaris Cooke for a tour of the 1880 THAT exhibition.

If you need additional support to enjoy this exhibition join us for this relaxed opening. There will be fewer people and extra staff to help you. We will provide a visual story in advance. There will also be sensory equipment and a chill-out room available.

Visit wellcomecollection.org/whats-on for more details and to book a tour.

‘Finger Talk’ is a British Sign Language immersive audiovisual installation by artist and curator Cathy Mager.

The piece explores the shared heritage and cultural identity of the British deaf community. The artwork uses audiograms (graphs that show the results of hearing tests), which have been donated by deaf people as the starting point, and reimagines them through animation. This imagery is interwoven with contemporary sign language performance, historic films and illustrations from archives such as the British Deaf Association and Wellcome Collection. A soundscape composed with deaf and disabled musicians accompanies the installation.

‘Finger Talk’ seeks to create a portal into a deaf world and change the narrative from one of 'hearing loss' to 'deaf gain'.

A deaf-led series of performances, workshops and tours, co-curated by Cathy Mager accompanies ‘Finger Talk’.

Please visit wellcomecollection.org/whats-on for more details.

Project Managers: Matt Nightingale and Georgia Monk

Audiovisual Production: Ricardo Barbosa, Wellcome's Multimedia and Audiovisual Production team

Photography Production: Petra Essing, Alice Evans, Ben Gilbert, Steven Pocock

Digital Guide: Lalita Kaplish, Wellcome Collection Digital Editorial team

Exhibition Design: Natalie Savva at Studio Naama

Graphic Design: Sara De Bandt and Luke Gould

BSL Guide: Damaris Cooke, Samuel Dore, Alexandra Shaw

Access Interpretation Producer: Ruth Garde

Wellcome Collection would like to thank Christine Sun Kim and Thomas Mader and their galleries WHITE SPACE and François Ghebaly.

We are also grateful to the following individuals whose contributions have been integral to the realisation of the exhibition: Helsa Borninstein, Linda Bove, David Faulwasser, Marcel Hirshman, Richard Kindell, Chris Laing, Ruth Lie, Kate McAuliff, Lynn Stewart-Taylor, Gan Uyeda.

https://images.prismic.io/wellcomecollection/adjifJ1ZCF7ETEPQ_AudreyAmiss_FrontDishofFruit_16-9crop.jpg?auto=format,compress&rect=1,0,8224,4626&w=3200&h=1800

Audrey Amiss: The Surviving Exhibitions

rudy-loewe-intimacies-of-care-spaces-of-grief-and-possibility

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Tenderness and Rage. Quilt by Martin McGrath Studio and Karina Thompson. Gallery Photo: Benjamin Gilbert. © Wellcome Collection

Tenderness and Rage

https://images.prismic.io/wellcomecollection/ac4w7pGXnQHGZMe4_SDP_EP003369_260319_2680.jpg?auto=format,compress&rect=0,0,4000,2250&w=3200&h=1800

‘Wild Apples’, Serena Korda, 2024. ‘The Coming of Age’ exhibition at Wellcome Collection

The Coming of Age

https://images.prismic.io/wellcomecollection/aQ44pbpReVYa4P8v_EP0003124_20251023_2269.jpg?auto=format%2Ccompress&rect=0%2C407%2C3704%2C2084&w=3200&h=1800

Expecting: Birth, Belief and Protection. Gallery Photo: Steven Pocock

Expecting: Birth, Belief and Protection

https://images.prismic.io/wellcomecollection/aGU0U3fc4bHWi9jl_EP_002941_0006.jpg?auto=format,compress&rect=0,500,4000,2250&w=3200&h=1800

‘Thirst: In Search of Freshwater’ an exhibition at Wellcome Collection

Thirst: In Search of Freshwater

Discover how self-published zines have been used to share individual expriences of disability and disabled identity.

https://images.prismic.io/wellcomecollection/Z-QetXdAxsiBv74b_017-BTG250304142757.jpg?auto=format%2Ccompress&w=3200&h=1800

Zines Forever! DIY Publications and Disability Justice, a Display at Wellcome Collection. Gallery Photo: Benjamin Gilbert

Zines Forever! DIY Publishing and Disability Justice

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Money Makes the World Go Round, Lindsey Mendick, 2024 Commissioned by Wellcome Collection

Hard Graft: Work, Health and Rights

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1880 THAT: Christine Sun Kim and Thomas Mader digital guides

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