The only residence designed by Chinese artist and activist Ai Weiwei is for sale. The 4,000-square-foot complex in Ancram, New York, is about two hours north of New York City by car, and it was commissioned by a couple who loved the artist's work. In collaboration with Basel, Switzerland–based HHF Architects, Weiwei delivered the main house in 2006 and a slingshot-shaped guest house two years later. The main residence is clad in corrugated iron, and sports three bedrooms and three bathrooms, as well as floor-to-ceiling windows and a fireplace of the same height. The program is divided between four timber-frame boxes of equal size, but two staircases and ceilings of different heights disrupt the boxes' rigidity and promote interior fluidity. Once can find the requisite pool and fancy appliances (Boffi in the kitchen, for example). The guest house, meanwhile, is clad in Cor-ten steel and features two bedrooms and two bathrooms slotted into its curving form. White angled wall dividers break up the timber-paneled living spaces and create plenty of space for art displays. Each of the Y-shaped structure's "poles" offers a different view of the property, which covers 37 hilltop acres. According to SFgate.com, the original owners sold the house in 2013 because they didn't visit it enough. The home's current owners are selling and moving overseas. Interested buyers have to pony up the big bucks: The house is on the market for $5.25 million.

UAP may not be a household name, but the firm is behind the scenes of many of the biggest projects in public art and architecture. With studios in Brisbane, Shanghai, and New York, UAP works with world-renowned artists and architects like Ai Weiwei, Carsten Höller, and Frank Gehry on highly complicated sculptures and architectural features. Most recently, it manufactured Phillip K. Smith III’s Open Sky with clothing brand COS for Salone del Mobile in Milan. UAP is also overseeing a number of projects in the Hudson Yards mega-development. Started in 1993 by brothers Daniel and Matthew Tobin in Australia, UAP collaborates with artists, architects, developers, and governments to plan and fabricate large-scale projects. However, at their core the Tobins are committed to protecting artists’ voices and maintaining conceptual integrity—dealing with tight deadlines, engineering challenges, and logistical complexities to deliver the creator’s vision in full. In this way, they function as an extension of the artist’s studio, allowing artists to step back from management and go back to doing what they do best: making art. UAP is organized into three sectors: UAP Studio, which produces site-specific artworks and offers curatorial oversight and public art strategy; UAP Factory, which works alongside architects on building projects; and UAP Supply, which offers limited-edition and custom furnishings. While UAP’s business includes working with artists to make their visions materialize, the firm also works with developers and governments to curate and consult on the how, where, and who behind public art. Recently, it has been going even bigger and helping develop master plans and long-term public art strategy for clients such as the Queen’s Wharf in Brisbane. Although handwork, traditional CNC, and cutting-edge fabrication techniques are integral to the practice, UAP is constantly looking for new ways to utilize technology. The team has been introducing virtual reality into its design process and collaborating with manufacturing researchers at Innovative Manufacturing CRC, Queensland University of Technology, and RMIT University to experiment with new robotic manufacturing systems that present a range of new possibilities. With his artist pedigree, founder Daniel has designed monumental projects, including the 197-foot-tall concrete tower Al Fanar (Beacon) in Saudi Arabia (with bureau^proberts) and a National AIDS Monument with the West Hollywood Foundation, to be completed in 2019. It’s this creative sensibility that’s central to UAP. It can help artists because they themselves are no mere fabricators; they’re partners in the creative process with an intimate knowledge of production and a deep investment in creative expression. Good Fences Make Good Neighbors New York This past winter’s blockbuster five-borough public exhibition from Ai Weiwei, Good Fences Make Good Neighbors, showcased the work of UAP in one of its most memorable sculptures: the 40-foot mirrored cage underneath the Washington Square Arch. Made in collaboration with the Public Art Fund, the arch sculpture was one of two that UAP completed for Ai’s project. The subject of many photographs, the sculpture approached serious topics with levity—juxtaposing a passage with a cage, it troubled the constructed notion of borders and highlighted the different ways they restrict, regulate, and permit the movement of differentiated bodies. Nuage, promenade Miami Working with renowned designers (and another fraternal pair) Ronan and Erwan Bouroullec, UAP oversaw the construction of a series of metal and glass canopies in Miami’s design district. Called Nuage, promenade, the pergola is designed to engage with not only the surrounding built environment of Paseo Ponti, but also the natural environment, as native plants will slowly grow around the blue and green structure. SITE Santa Fe, New Mexico UAP worked on every step of the process, from design to fabrication to installation, for an external cladding system for a SHoP Architects expansion to the New Mexico contemporary art space SITE Santa Fe. The layers of folded and perforated aluminum cladding for the two entrances help to unify the extension as a whole and mesh it with the museum and the public space. UAP also worked with SHoP on the interiors of the American Copper Buildings in Manhattan. Wahat Al Karama Abu Dhabi, United Arab Emirates In 2016, UAP worked with British artist Idris Khan to realize the massive memorial park Wahat Al Karama in Abu Dhabi, UAE. The central monument comprises 31 leaning tablets made of aluminum plates recycled from decommissioned armored vehicles. The tablets are inscribed with the names of service members and poems and quotes from Sheikh Zayed bin Sultan Al Nahyan and Sheikh Mohammed bin Zayed Al Nahyan. At one end of the park is the Pavilion of Honor, completed with bureau^proberts. Made of 2,800 aluminum panels encircling seven glass panels by Khan, the meditative space is a quiet interior pause that complements the monolithic structure outside.

United Talent Agency (UTA) will be moving their Los Angeles art space from Boyle Heights to a former warehouse in Beverly Hills this summer with an architectural overhaul designed by their own client, renowned Chinese artist Ai Weiwei.

UTA opened their first art space in 2016 after founding a fine arts division to represent high-profile artists in 2015. While getting some positive press from art world critics, the space, along with a number of other L.A. galleries, received flack and community pushback for contributing to gentrification in the Eastside. Perhaps it is then fitting that UTA Artist Space will be relocating to Beverly Hills, taking over a 4,000-square-foot former diamond-tooling facility. Ai’s yet-to-be-released design is inspired in part by the architectural similarities of the concrete Los Angeles warehouse to his own Beijing studio. This is hardly Ai’s first foray into architecture. The artist has collaborated with Herzog & de Meuron on more than one occasion, including on major commissions like the Beijing National Stadium (commonly referred to as the “bird’s nest”) and the firm’s 2012 Serpentine pavilion. Ai has also collaborated with other firms on architectural projects and, since 2003, has run his own architecture firm FAKE Design.   While Ai himself will exhibit a series of new marble works at the new UTA Artist Space this October, the gallery will open in July with a color field-focused show entitled One Shot featuring the work of Morris Louis, Helen Frankenthaler, Kenneth Noland, Sam Gilliam, and Jules Olitski, among others.

WXY Architecture + Urban Design co-founder Claire Weisz has received the American Institute of Architects New York Chapter’s (AIANY) top award, the Medal of Honor. "We are delighted to present to Claire the 2018 Medal of Honor, our chapter's highest level of recognition, for her ongoing career of distinguished work, and her immense contributions to public and civic space in New York," said Benjamin Prosky, executive director of AIANY and the Center for Architecture, in a statement. WXY partner and co-founder Mark Yoes has also been elevated to an AIA Fellow, which recognizes "exceptional work and lasting contributions to architecture and society." Weisz is an avowed urbanist, and WXY has won recognition for a large number of public projects across New York City, including a 2018 AIA Honor Award for their work on the Spring Street Salt Shed. Weisz was named a 2011 Emerging Voices winner, and WXY’s reconstruction of Astor Place and Cooper Square nabbed the studio a mention in AN’s 2017 Best of Design Awards for Urban Design. The studio works at all scales, from master planning enormous developments to designing for coastal resiliency, to street furniture and everything in between. Weisz will be honored at a ceremony at Cipriani Wall Street on April 20 at the annual AIANY Honors and Awards Luncheon. Artist Ai Weiwei, this year’s winner of the Award of Merit, and critic Inga Saffron, winner of the Kliment Oculus Award, will also be recognized at the event alongside the 2018 AIANY Design Awards winners. One set of Design Awards winners who won’t be attending is Richard Meier and Peter Marino, as the AIANY stripped both architects of their 2018 Merit Awards late last month amidst reports of harassment and misconduct.

The Architectural League of New York’s Emerging Voices award and lecture series highlights individuals and firms with distinct design “voices”, singling out those with the potential to go on to even greater heights. 2018 saw two rounds of judging; first by a panel of past Emerging Voices winners, and a second to pick the winners. The first-round jury included Virginia San Fratello, Sebastian Schmaling, Wonne Ickx, Lola Sheppard, Marcelo Spina, Carlos Jimenez, and Marlon Blackwell, as well as members of the second-round jury, Sunil Bald, Lisa Gray, Stella Betts, Jing Liu, Paul Makovsky, Tom Phifer, Chris Reed, and Billie Tsien. AN profiled all of the emerging voices firms in our February print issue. Estudio de Arquitectura founder Luis Aldrete will deliver his lecture on March 22, 2018, at the SVA Theatre in Manhattan. Luis Aldrete’s Guadalajara, Mexico-based practice, founded in 2007, works across a variety of scales and types, from small public facilities to housing towers. “We like to work directly with those executing our designs to create what would otherwise be impossible,” architect Luis Aldrete explained, describing the hand-in-glove relationship his elemental practice has with the workers who build his projects. “What we can achieve using mostly our hands is incredible.” Because some builders do not know how to read and write, the architect will typically take a more proactive role in directing construction and coordinating tradespeople—and not just by spending extra time on-site. Aldrete synergizes his design sensibilities with what his workers can produce. “We don’t believe in detail drawings,” Aldrete said. “For us, [overwrought] construction details represent a type of over-design. Instead of producing complicated detailing, we like to focus on precision in construction.” The buildings Aldrete designs, like the series of poetically spare shelters in the Mexican state of Jalisco he designed in conjunction with Chinese artist Ai Weiwei and Mexican architect Tatiana Bilbao along the Pilgrim Route, are quick to show off that precision. The cooling shelters, long and wedge-shaped, are designed with solid adobe-colored concrete-block walls that dematerialize as they rise. They dot the pilgrimage route, offering respite from the heat while providing water and camping facilities. “Some people intellectualize architectural discourse too much,” Aldrete said. “We like working on quotidian concerns, like shade and rest, instead. The way one can provoke life in common spaces is inspiring.” The architect and his half-dozen or so employees have more than a handful of projects in the pipeline, including a trio of apartment towers slated for a rapidly urbanizing section of the otherwise flat city of Guadalajara, as well as several moody single-family homes and a series of social housing complexes across the region. These low-slung masonry complexes typically feature monolithic punched openings, structurally dependent massing, and pockets of interconnected and shared outdoor spaces. The 15-story concrete-frame towers, on the other hand, are more platonic in their forms and create a triangular courtyard between one another, leaving a large percentage of the site open for public spaces and gardens. The exoskeleton for each of the gridded towers creates shade for the units within, which are designed as spare and variously lit quarters. Like several of the firm’s projects, the 132-unit development is guided by a “love and passion for ruins,” as Aldrete said. “Some of our work looks like ruins, and we like that.”

San Francisco’s $50 million, arts and culture-focused redevelopment of the Treasure Island neighborhood, a manmade island in San Francisco Bay, is moving along with the announcement of a star-studded shortlist of artists for its massive sculpture displays. Ai Weiwei, Hiroshi Sugimoto, New Jersey-based sculptor Chakaia Booker and five other artists have been invited to submit designs for three public sites across the development, from an initial pool of 495 entrants. The plan to expand the Treasure Island district will include the neighboring Yerba Buena Island, and add up to 8,500 new residences and 550,000 square feet of retail across both islands. The $50 million art budget, to be spent in the coming decades, will be generated through the 1% for Art in Private Development fund, which would levy a 1% “art tax” on new construction projects on the island. The three sites will include the Building 1 Plaza in front of the ferry landing, with a budget of $1 million, Waterfront Plaza, with a $2 million budget, and the Yerba Buena Hilltop Park, with a $2 million budget. Of the eight artists, only Weiwei and Booker have been invited to submit proposals for more than one site. Weiwei, Booker and Los Angeles-based Pae White, with Ned Kahn as a standby option, will submit for the Building 1 Plaza. Weiwei, British sculptor Antony Gormley, and Cuban artist Jorge Pardo will also propose pieces for the Waterfront Plaza, a likely future ferry terminal location. At the Yerba Buena Hilltop Park, which will offer sweeping views of Treasure Island once the development is complete, Booker, British sculptor and photography Andy Goldsworthy, and Sugimoto have been shortlisted. Once complete, the Treasure Island redevelopment, which will be jointly masterplanned by SOM and Perkins + Will, will only build on approximately 25 percent of the available land. By clustering new buildings along Treasure Island’s southern and western shores and building for density, the master plan not only reduces the island’s dependence on cars but will also provide plenty of space for the “art park” concept to unfold. CMG Landscape Architecture has been tapped to design the 300 acres of rolling parks across both islands. “It is anticipated that proposals will be submitted in the spring and will be placed on public view on Treasure Island as well as elsewhere in the city for comment and feedback before being voted upon by the Treasure Island Development Authority,” according to the San Francisco Arts Commission. Neither Weiwei nor Sugimoto are strangers to large-scale art installations, or integrating art with the built environment. Most recently, Weiwei's Good Fences Make Good Neighbors touched down in public areas throughout New York City, while Sugimoto was tapped to redesign the Hirshhorn Museum's lobby. The entire Treasure Island master plan can be read here.

In Good Fences Make Good Neighbors, a new exhibition by Ai Weiwei presented by the Public Art Fund, the artist and activist takes on the security fence as a medium for urban intervention, with New York City as his canvas. Some of the works might be easy to miss, like the chain link fences suspended over a gap between two buildings on East 7^th Street, just steps from Ai’s old basement apartment. But others, like the monumental Gilded Cage at Doris Freedman Plaza in Central Park, or Arch, nested under the Washington Square arch, are unmistakable and grandiose. The exhibit, which spans the five boroughs, opens to the public on October 12 and is comprised of more than 300 pieces. Like the Robert Frost poem it references, the show examines the tension and contradictions surrounding borders and those excluded by them, inspired by Ai’s concerns about the global refugee crisis and related geopolitical conflicts. Many of the city sites selected by Ai, once a New York immigrant himself, also have close ties to histories of immigration, protest, and free speech. For the artist, the exhibition became an opportunity to utilize the existing infrastructure of New York City as a scaffolding for public art. From lampposts and flagpoles as well as on the public bus shelters dotting the city, Ai has installed a range of two- and three-dimensional works that combine fencing material with his cell phone shots of border checkpoints and refugee encampments. The images the exhibit has hung from lampposts throughout the city are delicate portraits stamped out of a black mesh fabric, and feature archival shots of Ellis Island entrants, notable refugees and immigrants like Nina Simone and Emma Goldman, and contemporary faces of displacement and exile, such as Iraqi refugees. Ai Weiwei also resurrects some familiar metaphors from his oeuvre, especially the birdcage. It becomes an inhabitable monolith in Gilded Cage, with turnstiled arcades forming the outer perimeter and a clearing in the middle that frames the sky and the surrounding foliage of Central Park. In Arch, the birdcage that blocks the Washington Square arch is shot through with a mirrored portal shaped into a silhouette of two people, a reference to a Duchamp work that also suggests how cages can become doorways, or hint at the inevitability of human migration despite the barriers that are erected. Circle Fence, which rings the Unisphere in Flushing Meadows Corona Park in Queens, is grand on a different scale, essentially forming a low 1,000-foot-long soft fence that doubles as a collective hammock and seating. Here the fence does not resemble a jail or barrier, but the mesh netting stretched over the fence posts still blocks movement even as it invites the public to lie down and relax. More quotidian fences clamp around the columns of Cooper Union’s facade or swing as pixelated banners from the Lower East Side’s Essex Market. Their unobtrusive presence echoes Ai Weiwei’s belief that fences tap easily into existing structures of power and don’t require a separate infrastructure to be erected. Or, as Public Art Fund’s Chief Curator Nicholas Baume stated, Ai's works show "what we have thought was open can suddenly be closed.” The full list of works and venues for Good Fences Make Good Neighbors can be found here. The exhibit will be on view through February 11^th.

Thanks to the Public Art Fund (PAF), New Yorkers will be able to find art from Chinese artist Ai Weiwei in all five boroughs, commencing October 12. Titled Good Fences Make Good Neighbors, Ai's work falls on PAF's 40^th anniversary and features 18 sculptural installations, 200 two-dimensional works, and 100 documentary images. Ai, who studied Western modern and contemporary art in New York City as a student in the 1980s, reflects current global geopolitics and international migration in his work.  Some of Ai's installations, such as a metal cage under the Washington Square Arch, are site specific, whereas others, like a new series of more than 100 images found on JCDecaux bus shelters and newsstands, as well as LinkNYC kiosks, are not. With regard to the latter, the documentary photographs will be paired with quotes from poets and writers and will touch on global displacement. These will appear in all five boroughs, as will 200 lampposts banners that have images of displaced people on them.  As for the other large-scale sculptural installations, these can be found at the Doris C. Freedman Plaza in Central Park; the Unisphere, at Flushing Meadows Corona Park, Queens; 48 East 7th Street, East Village; 189 Chrystie Street, Lower East Side; 248 Bowery, Lower East Side; The Cooper Union for the Advancement of Science and Art, Astor Place; Essex Street Market, Lower East Side; and ten JCDecaux Bus Shelters in Downtown Brooklyn and Harlem. “Ai Weiwei is unique in having combined the roles of preeminent contemporary artist, political dissident, and human rights activist in such a prominent and powerful way,” said Public Art Fund Director & Chief Curator Nicholas Baume in a press release. “In many ways, Good Fences Make Good Neighbors is the culmination of his work to date. It grows out of his personal experience of ‘otherness,’ his distinguished practice as both artist and architectural designer, as well as his intensive research on the international refugee crisis and [the] global rise of nationalism. At the same time, his long and formative history with New York has been deeply influential in the development of this exhibition.” Ai will create variations on the fence—from metal chain link to synthetic netting—to form interventions that adapt to their sites, as if growing out of urban space and changing how we relate to the fence and our environment. Good Fences Make Good Neighbors runs through February 11, 2018.

According to the League of American Cyclists, Austin is the only “Gold Level” city in Texas. The cycle group, Bike Austin, currently boasts approximately 13,000 members—more than one percent of Austin’s population. So perhaps a sculpture titled Forever Bicycles has found the right home.

Forever Bicycles comprises, well, you guessed it, a lot of bicycles—1,200, to be precise.

The large-scale work from Chinese artist Ai Weiwei is part of The Contemporary Austin’s Museum Without Walls program and its ongoing partnership with Waller Creek Conservancy. It can be found adjacent to the Waller Creek Boathouse at 74 Trinity Street.

The steel bikes have not been painted or colored, resulting in a gray monolith that recalls Weiwei’s childhood memories and dadaist principles. In particular, it seems to reference Marcel Duchamp’s subversions of the everyday object such as the Bicycle Wheel, one first of the French artist’s “readymades.”

However, while Duchamp toyed with the mode transport in a singular fashion, Weiwei exhibits it in excess, recalling the bike brand “Forever” that dominated the streets of China during his childhood, yet were out of his, and many others’, price range.

The bikes are connected and arranged in a seemingly disorderly manner, yet this pattern of partially tessellating bicycles is repeated 11 times, with each iteration being equidistant from the next. From certain angles, the density of the sculpture obscures the cycle motif and the artwork is instead perceived as a metal mesh. However, this isn’t putting off Bike Austin, which says it will be incorporating the sculpture into the daily cycle routes.

Forever Bicycles is actually one of two Weiwei works that now fall under the Museum Without Walls program. The second, titled Iron Tree Trunk, is located at the museum’s Betty and Edward Marcus Sculpture Park at Laguna Gloria and sees a replica dead tree trunk rise 15 feet.

On a visit to the Chinese town of Jingdezhen, Weiwei observed how locals trade dry wood by basing the value on the wood’s form and general aesthetic. This inspired Weiwei to experiment with wood in a large-scale format. By 2009, he was exhibiting works that used twisted timber, and Iron Tree Trunk, conceived in 2015, continues this thought. The sculpture uses the remains of a large tree that have been pieced together to form a new “tree” that, at a glance, looks as if it is from oxidized iron.

“With beautiful and outspoken conceptual work fused to his own larger-than-life persona, Ai Weiwei has become one of the most important artists working today,” said Louis Grachos, executive director of The Contemporary Austin in a statement. “And his relevance is only deepening given the current political climate in the United States and throughout the world.”

Ever placed the sole of your bare foot onto a piece of LEGO left on the floor? If you have, you know the and sheer pain and annoyance at 1) How such a harmless looking single brick could cause so much pain and 2) Why it was there in the first place. If one floor-bound LEGO brick is enough to cause you such discomfort, then prepare to be triggered at the Hirshhorn Museum in Washington, D.C., where hundreds of thousands of bricks, courtesy of Ai Weiwei, will be laid on the floor to form portraits. These are not just any old pieces of portraiture, though. In Ai Weiwei: Trace at Hirshhorn, the Chinese artist has chosen to represent activists. Perhaps this is fitting. Activists, to those in power, can be as aggravating as treading on a piece of LEGO. Collectively, they are more daunting—as daunting as say, walking across an entire floor of jagged LEGO. Within the circular museum, 176 portraits all comprised of LEGO and assembled by hand populate the museum's second floor, spanning 700 feet. Ai Weiwei: Trace at Hirshhorn will fill the entirety of the second-floor galleries and also feature two graphic wallpapers, one of which is being exhibited for the first time. This debuting artwork is titled The Plain Version of the Animal That Looks Like a Llama but is Really an Alpaca and will cover the outer wall of the Hirshhorn's second floor. The piece includes images of surveillance and is a monochrome take on Ai's The Animal That Looks Like a Llama but is Really an Alpaca which itself will be found in the lobby of the same floor. This will be the first time Ai's Trace has been shown on the East Coast. Trace was first commissioned in 2014, opening at Alcatraz in San Francisco as a collaboration between the nonprofit FOR-SITE Foundation, the National Park Service, and the Golden Gate Park Conservancy. The exhibition and artwork featured derives from Ai's treatment by the Chinese government stemming back to 2011 when he was incarcerated, interrogated and tracked by authorities for 81 days. In addition to this, Ai was also banned from exiting China until two years ago. Ai Weiwei: Trace at Hirshhorn will be on view from June 28 through January 1, 2018. The evening before the exhibition's opening, Ai will give the annual James T. Demetrion Lecture in the Hirshhorn’s Ring Auditorium marking his first appearance in the city. In 2012, the museum ran a retrospective of the artist's work, the first in the U.S., alas, Ai was prohibited from attending. Free tickets for the lecture will be released online on June 19. More details can be found on the museum website.

Today, New York’s Park Avenue Armory unveiled an interactive exhibition by Herzog & de Meuron and Ai Weiwei entitled, Hansel & Gretel. Emulating modern day surveillance, drones swirl overhead while infrared cameras document the viewers’ every move, screening the footage along the floor. Visitors in the installation are both watching and being watched, leaving digital “breadcrumbs” behind to be gathered and stored—hence the fairytale name. The effect is disturbing, thought provoking, and surprisingly fun as visitors posed themselves to create works of photographic art on the floor and took selfies (it is unclear if that was the designers’ original intentions). Visitors enter the Park Avenue Armory’s 49^th Drill Hall through the Lexington Avenue side door rather than through the main doors. According to Herzog & de Meuron, this helped distance the Armory’s ornate architecture from the very modern display inside. “We wanted people to enter the space as you would a park, and we envisioned an entrance like a mouse hole, so we originally wanted to make a hole through the brick walls, but that was…complicated,” said Jacques Herzog at the opening. “The second best option was to use the existing two doors on Lexington Avenue and create a tunnel leading to the hall.” From the tunnel, a five-foot embankment leads up into the space, which hums with the sound of drones and visitors. Taking advantage of the area's scale, the room is dark and amplified with red laser lights. Upon exiting, the viewers can see the footage of the room being displayed in the Head House, realizing the extent of the “surveillance” at hand. In the hall, iPads allow visitors to use facial recognition software to find additional images of themselves and provide educational materials on drones and surveillance technology. Weiwei, who has been under surveillance in China, explained, “I think everyone is under surveillance to varying degrees. Human nature is searching for truths by any means necessary.” Hansel & Gretel is on view at the Park Avenue Armory through August 6.

Known for his political activism and for art that spans east and west, Chinese artist Ai Weiwei will hold an exhibit on Alcatraz Island this September. The show will include seven works at the notorious former federal prison—with partners including the Golden Gate National Parks Conservancy, the National Park Service, and the For-Site Foundation. The installations will be spread throughout Alcatraz, including the 1941 New Industries Building, where prisoners worked in manufacturing or did laundry for local military bases. The A Block section of the 1912 Alcatraz Cellhouse will also open. It included solitary confinement cells as well as ones that contained typewriters and legal reference books. There will also be installations in the hospital and the Dining Hall, according to Architect. Ai Weiwei is a prisoner of sorts himself. He will work on the exhibit from China, since the Chinese government has barred him from leaving the country since 2011. To help visitors understand more about Weiwei's installations, guides will be stationed throughout Alcatraz, to be funded by a currently-in-progress Kickstarter campaign. The exhibit will run through April 2015.