A Course Focused on Museum Exhibitions

Author: dwheeler

Ecosystems to Engineering: A Review of the National Great Rivers Museum Exhibit

Front entrance to US Army Corps of Engineers National Great Rivers Museum, photo D. Wheeler

The National Great Rivers Museum in Alton, Illinois presents an engaging and interactive exhibition that portrays the Mississippi River as a constantly moving force shaping the natural and human world. The exhibit/museum communicates a clear big idea: the river never stops moving, it carves land, economies, and everyday life. Through a combination of hands-on displays and integrated storytelling, the museum encourages visitors to understand the river as both a natural system and a heavily engineered structure. While the exhibit/museum is especially effective for children and families. The exhibit/museum raises broader environmental questions, and tends to emphasize the benefits of human intervention and engineering.

The Bluffs interactive display at the National Great Rivers Museum, photo D. Wheeler

The museum is designed with accessibility in mind, particularly for younger audiences. Hands-on activities, simple language, and colorful visual displays make complex ideas easier to understand. Visitors learn how the Mississippi River has shaped its landscape over time through processes such as erosion, sediment movement, and shifting channels. These ideas are communicated through diagrams, interactive models, and visual timelines that make scientific ideas approachable. At the same time, the exhibit highlights the river’s ecological importance by illustrating how fish, birds, and other wildlife depend on its ever-changing environment creating a thriving ecosystem.

River Sights and Sounds at the National Great Rivers Museum, photo D. Wheeler

One particularly memorable element of the exhibit is the River Models display, which emphasizes the environmental impact of pollution. This display illustrates how long it takes for materials such as glass, Styrofoam, and fishing line to decompose. The fact that glass can take up to a million years to break down is especially striking! More importantly, the exhibit connects this information to its impact on wildlife, showing how these materials can harm animals long before they decompose. This moment adds an emotional dimension to the experience, encouraging visitors to reflect on their own environmental responsibility. By helping visitors understand these connections, the exhibit promotes environmental awareness and stewardship. This mission aligns with the goals of the Meeting of the Rivers Foundation, which works to increase public understanding of river systems and their importance. Through education and engagement, the museum encourages visitors to think more carefully about how human actions affect natural environments.

River Models at the National Great Rivers Museum, photo D. Wheeler
Detail of River Models at the National Great Rivers Museum, photo D. Wheeler

In addition to its focus on natural systems, the exhibit shows the connection between the river and industry. Visitors are introduced to the role of shipping, farming, and engineering in shaping how the river is used today. One interactive feature allows visitors to control a “stairway of water,” demonstrating how locks and dams enable boats and goods to move along the river. The museum takes a multidisciplinary approach, combining environmental, economic, and social perspectives to show how the river supports modern life. It also emphasizes the role of the U.S. Army Corps of Engineers in managing the river’s infrastructure, particularly through projects like the Melvin Price Locks and Dam, which facilitate large-scale transportation and economic growth.

Signage at the front entrance of the National Great Rivers Museum, photo D. Wheeler

While the exhibit demonstrates the benefits of engineering, it gives less attention to its potential drawbacks. Environmental consequences and controversies are mentioned only briefly, suggesting a slight bias that may reflect the museum’s institutional partnerships. For example, while locks and dams support commerce, they can also disrupt natural water flow and impact wildlife habitats. A more balanced discussion would strengthen the exhibit’s depth and provide visitors with a fuller understanding of the river’s complexities.

Interactive display of River Sights and Sounds at the National Great Rivers Museum, photo D. Wheeler

In conclusion, the National Great Rivers Museum presents the Mississippi River as a dynamic system shaped by both natural forces and human activity. Its strengths lie in its interactivity, accessibility, and ability to connect environmental and economic themes. Although its limited discussion of the negative impacts of engineering reduces its critical depth, the exhibit successfully educates visitors and fosters a greater appreciation for the complexity of river systems. As a result, it stands as a valuable and engaging educational experience that encourages both curiosity and environmental awareness.

Shaped Grounds

Teresa Baker, Converging, 2023, Spray paint, yarn, buffalo hide, and willow on artificial turf. 67 1/2 x 114 inches. Photo: D. Wheeler

Sept 5, 2025-February 8, 2026

Teresa Baker: Somewhere Between Earth and Sky

Curators: Dean Daderko, Ferring Foundation Chief Curator, with support from Grave Early Exhibitions Assistant. 

Haegue Yang: Quasi-Heartland

Curators: Misa Jeffereis, Associate Curator, with support from Grace Early, Exhibitions Assistant. 

The fall 2025 exhibition Teresa Baker: Somewhere Between Earth and Sky at the Contemporary Art Museum St. Louis presents a compelling meditation on land, memory, and Indigenous identity through unconventional materials. Installed alongside Haegue Yang’s exhibition Quasi-Heartland, Baker’s work unfolds across three gallery spaces, inviting viewers to consider how synthetic and organic materials can hold cultural memory. Teresa Baker transforms everyday and innate materials into sculptural landscapes that assert Indigenous identity and reimagine cultural contemporary abstraction.

Teresa Baker, Lucky Mound, 2022, Spray paint, yarn, willow on artificial turf. Private Collection, Miami, FL. Photo: D. Wheeler

The target audience for this exhibition is broad: the general public, contemporary art enthusiasts, and especially viewers interested in Indigenous art practices. Baker’s abstract astroturf paintings dominate the galleries. Displayed both on walls and suspended from ceilings, these contour-cut forms resemble aerial maps or geological fragments. The use of synthetic astroturf—often associated with suburban lawns or artificial environments—complicates the romanticism of landscape painting. By layering spray paint, twine, yarn, and animal sinew into the surface, Baker introduces tactile references to labor and craft traditions. Baker’s willow baskets, inspired by traditional burden baskets used for harvesting and transport, further anchor the work in cultural practice. Installed on pedestals or pressed against the wall, they serve as both sculptural objects and historical references.
Her newest work, Everything I Carry With Me (2025), marks a shift towards fully three-dimensional construction. Positioned centrally, this double-sided piece encourages viewers to circulate around it. The act of walking becomes integral: identity is not singular but layered and connected.

Teresa Baker, Everything I Carry With Me, 2025, Acrylic, buckskin, satin on artificial turf. Photo: D. Wheeler

Visitors first encounter Yang’s imposing Umbra Creatures (2017–2018) in the lobby before navigating to the other tightly packed gallery spaces. Only after this immersive encounter does one turn toward Baker’s galleries. This is significant: Yang’s kinetic installations contrast with Baker’s more spacious, meditative presentation. Baker’s first room features a loose circular flow, allowing self-direction. The second room integrates framed drawings alongside monumental astroturf works, encouraging closer inspection. The third gallery, typically used as a social gathering space overlooking the Pulitzer Museum and Richard Serra’s Joe, feels surprisingly odd, containing only a single work. While the exhibit functions clearly and signage is accessible, the spatial distribution feels uneven.

Haegue Yang, Umbra Creatures by Rockhole, 2017-18. Photo: D. Wheeler

Yang’s works are compressed into smaller rooms and the lobby, while Baker’s final gallery appears underutilized. Expanding one of Baker’s or Yang’s larger suspended works into this third space could have enhanced scale and impact. As installed, the exhibition risks ending with a visual whisper rather than a shout!

Haegue Yang, Umbra Creatures by Rockhole, 2017-2018. Photo: D. Wheeler

Visually, the exhibition balances text and image effectively. The white gallery walls and natural lighting emphasize the saturated greens, reds, blacks, and blues of the astroturf pieces bought from a big box store. The juxtaposition of industrial and organic materials is central to the narrative Baker is trying to communicate. Although additional contextual explanation would benefit viewers unfamiliar with Indigenous craft histories. Digitally, the museum could enhance engagement by incorporating QR codes linking to process videos or interviews with Baker and curator Dean Daderko.
In conclusion, Teresa Baker: Somewhere Between Earth and Sky succeeds in reframing abstraction as culturally grounded and materially political. Baker’s work powerfully asserts that landscape is not a passive subject but an active site of memory and identity. Her integration of astroturf and traditional materials challenges viewers to reconsider authenticity, artifice, and belonging.
However, the exhibition’s spatial imbalance slightly diminishes its impact.
Ultimately, Baker’s exhibition demonstrates that the ground beneath our feet—whether synthetic or sacred—remains contested terrain, and that art can occupy the space somewhere between earth and sky with quiet, force.