{"id":11437,"date":"2019-04-16T13:39:33","date_gmt":"2019-04-16T17:39:33","guid":{"rendered":"https:\/\/www.bates.edu\/museum\/?page_id=11437"},"modified":"2026-03-23T14:54:37","modified_gmt":"2026-03-23T18:54:37","slug":"past-exhibitions","status":"publish","type":"page","link":"https:\/\/www.bates.edu\/museum\/exhibitions\/past-exhibitions\/","title":{"rendered":"Exhibition History"},"content":{"rendered":"\n
\"\"<\/span>
\n

Exhibition History<\/h1>\n<\/div><\/div>\n\n\n\n
<\/div>\n\n\n\n

2025 – 2026<\/h3>\n\n\n\n
<\/div>\n\n\n\n
\"\"<\/a><\/figure>
\n

Precision and Expression:
American Studio Ceramics
from the E. John Bullard Collection<\/h4>\n\n\n\n

October 24, 2025 \u2013 March 21, 2026<\/h6>\n<\/div><\/div>\n\n\n\n
<\/div>\n\n\n\n
\"Installation<\/a><\/figure>
\n

Shellburne Thurber: Full Circle<\/h4>\n\n\n\n

October 24, 2025 \u2013 March 21, 2026<\/h6>\n<\/div><\/div>\n\n\n\n
<\/div>\n\n\n\n
\"\"<\/a><\/figure>
\n

Ralph Steadman:
And Another Thing<\/h4>\n\n\n\n

June 6 – October 11, 2025<\/h6>\n<\/div><\/div>\n\n\n\n
<\/div>\n\n\n\n

2024 – 2025<\/h3>\n\n\n\n
<\/div>\n\n\n\n
\n
\"Sketches<\/a>
Hartley | Hopper: Drawings from Two New England Collections<\/figcaption><\/figure>\n\n\n\n
\"A<\/a>
Saul Steinberg: Brilliant, Witty, Inventive, Cerebral<\/figcaption><\/figure>\n\n\n\n
\"Painting<\/a>
Across Common Grounds: Contemporary Art Outside the Center<\/figcaption><\/figure>\n\n\n\n
\"Carol<\/a>
ARRAY: Recent Acquisition Series<\/figcaption><\/figure>\n\n\n\n
\"Ceramic<\/a>
Under the Parachute: Senior Thesis 2025<\/figcaption><\/figure>\n\n\n\n
\"blank\"<\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n

2023 – 2024<\/h3>
<\/div><\/div>
\n
\n
\"Donna<\/a>
Who Are They? Who Am I? Portraits of Artists and Artist Self-Portraits
from the Permanent Collection <\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Selections From the Diversify the Collections Program<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Exploding Native Inevitable<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Brad Kahlhamer: Nomadic Studio, Maine Camp<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Neue Slowenische Kunst | Monumental Spectacular<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Senior Thesis 2024<\/figcaption><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2022-2023<\/h3>
<\/div><\/div>
\n
\n
\"\"<\/a>
 <\/em><\/strong><\/strong>Pedagogy<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Expressions of Compassion: Selections from the Barbara Morris Goodbody Photography Collection<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
And So Did Pleasure Take the Hand of Sorrow and They Wandered Through the Land of Joy<\/figcaption><\/figure>\n\n\n\n
\"OLYMPUS
Propaganda Posters From China’s Cultural Revolution<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Senior Thesis Exhibition 2023<\/figcaption><\/figure>\n\n\n\n
\"\"<\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2021-2022<\/h3>
<\/div><\/div>
\n
\n
\"\"<\/a>
Joseph Delaney: Taking Notice<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Carl Benton Straub: His Enduring Legacy<\/figcaption><\/figure>\n\n\n\n
\"Marsden<\/a>
Marsden Hartley: Adventurer in the Arts<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
An Adventurous Spirit: The Jane Costello Wellehan Collection<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
 Lesley Dill, Wilderness: Light Sizzles Around Me<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Senior Thesis Exhibition 2022<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
African Art From the Permanent Collection<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2020-2021<\/h3>
<\/div><\/div>
\n
\n
\"The<\/a>
Peter Fischli and David Weiss:
The Way Things Go<\/figcaption><\/figure>\n\n\n\n
\"Ralph
Ralph Steadman: A Retrospective (Cancelled due to COVID-19 public health crisis)<\/figcaption><\/figure>\n\n\n\n
\"Evolve:<\/a>
Evolve: a changing exhibition of work from the collection<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Let’s Celebrate Ashley Bryan!<\/figcaption><\/figure>\n\n\n\n
\"Senior<\/a>
Senior Thesis Exhibition 2021<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2019-2020<\/h3>
<\/div><\/div>
\n
\n
\"DeWitt<\/a>
DeWitt Hardy: Master of Watercolor<\/figcaption><\/figure>\n\n\n\n
\"Joel<\/a>
Joel Babb, Study for New England Towers, 2001, graphite, ink and wash, Museum purchase with the Robert A. and Minna F. Johnson Art Acquisition Fund, 2009.12.1<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
German Art Posters<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Vanessa German: Miracles and Glory Abound<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Ralph Eugene Meatyard: Stages for Being<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Senior Thesis Exhibition 2020<\/figcaption><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2018-2019<\/h3>
<\/div><\/div>
\n
\n
\"\"<\/a>
Anthropocenic: Art About the Natural World in the Human Era<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Amy Stacey Curtis: Time and Place<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Peter Turnley: Refugees<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Dahlov Ipcar: Blue Moons & Menageries<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Maine Moderns: Drawings by Marsden Hartley and Carl Sprinchorn<\/figcaption><\/figure>\n\n\n\n
\"Senior<\/a>
Senior Thesis Exhibition 2019<\/figcaption><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2017-2018<\/h3>
<\/div><\/div>
\n
\n
\"\"<\/a>
Senior Thesis Exhibition 2018<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Celebrating Peoples History: Iraq Veterans Against the War – Ten Years of Fighting for Peace and Justice<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Kate Gilmore: In Your Way<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
At Home and Abroad: The Marsden Hartley Memorial Collection<\/figcaption><\/figure>\n\n\n\n
\"Rona<\/a>
Rona Pondick and Robert Feintuch: Heads, Hands, Feet; <\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Literary<\/figcaption><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2016-2017<\/h3>
<\/div><\/div>
\n
\n
\"\"<\/a>
Senior Thesis Exhibition 2017<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Recent Acquisitions: Martin Puryear, Prints\ufeff<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
PHANTOM PUNCH: Contemporary Art from Saudi Arabia in Lewiston<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Mythology<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Robert Indiana: Now and Then<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Jay Bolotin: The Book of Only Enoch<\/figcaption><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2015-2016<\/h3>
<\/div><\/div>
\n
\n
\"David<\/a>
David C. Driskell: The Doorway Portfolio<\/figcaption><\/figure>\n\n\n\n
\"Senior<\/a>
Senior Thesis Exhibition 2016<\/figcaption><\/figure>\n\n\n\n
\"The<\/a>
The View Out His Window (and in his mind’s eye): Photographs by Jeffery Becton<\/figcaption><\/figure>\n\n\n\n
\"The<\/a>
The Art of Occupy: The Occuprint Portfolio<\/figcaption><\/figure>\n\n\n\n
\"Maine<\/a>
Maine Collected<\/figcaption><\/figure>\n\n\n\n
\"Points<\/a>
Points of View<\/figcaption><\/figure>\n\n\n\n
\"The<\/a>
The Painter of Maine: Photographs of Marsden Hartley<\/figcaption><\/figure>\n\n\n\n
\"Encountering<\/a>
Directors\u2019 Cut: Selections from the Maine Art Museum Trail at the Portland Museum of Art<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2014-2015<\/h3>
<\/div><\/div>
\n
\n
\"\"<\/a>
Senior Thesis Exhibition 2015<\/figcaption><\/figure>\n\n\n\n
\"Greg<\/a>
Greg Shattenberg: Prints and Drawings<\/figcaption><\/figure>\n\n\n\n
\"Back<\/a>
Back and Forth: The Collaborative Works of Dawn Clements and Marc Leuthold<\/figcaption><\/figure>\n\n\n\n
\"Photographs<\/a>
Photographs by Women: Recent Additions to the Permanent Collection<\/figcaption><\/figure>\n\n\n\n
\"Convergence:<\/a>
Convergence: Jazz, Films, and the Visual Arts<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Encountering Maine<\/figcaption><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2013-2014<\/h3>
<\/div><\/div>
\n
\n
\"\"<\/a>
Senior Thesis Exhibition 2014<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Polish Posters: Art and Allusion<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Remix: Selections from the International Collage Center<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
How to Make the Universe Right: The Art of the Shaman in Vietnam and Southern China<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Redefining The Multiple: 13 Japanese Printmakers<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Selections from Berenice Abbott\u2019s Portrait of Maine<\/figcaption><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2012-2013<\/h3>
<\/div><\/div>
\n
\n
\"Selections<\/a>
Selections from the Permanent Collection: Recent Acquisitions<\/figcaption><\/figure>\n\n\n\n
\"Senior<\/a>
Senior Thesis Exhibition 2013<\/figcaption><\/figure>\n\n\n\n
\"Dozier<\/a>
Dozier Bell: Mind\u2019s Eye<\/figcaption><\/figure>\n\n\n\n
\"Fransje<\/a>
Fransje Killaars: Color at the Center<\/figcaption><\/figure>\n\n\n\n
\"Max<\/a>
Max Klinger (German, 1857 \u2013 1920), The Intermezzi Portfolio<\/figcaption><\/figure>\n\n\n\n
\"Robert<\/a>
Robert S. Neuman\u2019s \u201cShip to Paradise\u201d<\/figcaption><\/figure>\n\n\n\n
\"Starstruck:<\/a>
Starstruck: The Fine Art of Astrophotography<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2011-2012<\/h3>
<\/div><\/div>
\n
\n
\"Senior<\/a>
Senior Thesis Exhibition 2012<\/figcaption><\/figure>\n\n\n\n
\"Xiaoze<\/a>
Xiaoze Xie: Amplified Moments (1993-2008)<\/figcaption><\/figure>\n\n\n\n
\"James<\/a>
James Ensor: Sc\u00e8nes de la vie du Christ and other works<\/figcaption><\/figure>\n\n\n\n
\"25:<\/a>
25: Selections from the Permanent Collection<\/figcaption><\/figure>\n\n\n\n
\"Enrique<\/a>
Tale Spinning<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Manuel Alvarez Bravo – Fotografias de Mexico (1933-1976)<\/figcaption><\/figure>\n\n\n\n
\"Andrew<\/a>
Andrew and Jamie Wyeth: Selections from the Private Collection of Victoria Browning Wyeth<\/figcaption><\/figure>\n\n\n\n
\"Emerging<\/a>
Emerging Dis\/Order: Drawings by Amy Stacey Curtis, Alison Hildreth, and Andrea Sulzer<\/figcaption><\/figure>\n\n\n\n
\"Selected<\/a>
Selected Drawings & Photographs from the Marsden Hartley Memorial Collection<\/figcaption><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2010-2011<\/h3>
<\/div><\/div>
\n
\n
\"Senior<\/a>
Senior Thesis 2011<\/figcaption><\/figure>\n\n\n\n
\"Bound<\/a>
Bound to Art: Illustrated Books from Edmund S. Muskie Archives and Special Collections Library<\/figcaption><\/figure>\n\n\n\n
\"Dialogue,<\/a>
Dialogue, a video series<\/figcaption><\/figure>\n\n\n\n
\"Selections<\/a>
Selections From the Collection of the Ogunquit Museum of American Art<\/figcaption><\/figure>\n\n\n\n
\"Ogunquit<\/a>
Ogunquit Museum of American Art<\/figcaption><\/figure>\n\n\n\n
\"The<\/a>
Mao Jacket<\/figcaption><\/figure>\n\n\n\n
\"Metamorphosoes:<\/a>
Metamorphosoes: A Collaboration with Ovid by Wally Reinhardt<\/figcaption><\/figure>\n\n\n\n
\"Lalla<\/a>
Lalla Essaydi: Les Femmes du Maroc<\/figcaption><\/figure>\n\n\n\n
\"Recent<\/a>
Recent Acquisitions<\/figcaption><\/figure>\n\n\n\n
\"Maine<\/a>
Maine Landscapes: Then and Now<\/figcaption><\/figure>\n\n\n\n
\"Joseph<\/a>
Joseph Nicoletti: A Retrospective<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2009-2010<\/h3>
<\/div><\/div>
\n
\n
\"Senior<\/a>
Senior Thesis Exhibition 2010<\/figcaption><\/figure>\n\n\n\n
\"Barry<\/a>
Barry Nemett: Drawing from Italy<\/figcaption><\/figure>\n\n\n\n
\"Joel<\/a>
Joel M. Babb: The Process Revealed<\/figcaption><\/figure>\n\n\n\n
\"Collection<\/a>
Collection Project 4: Alumni Collections<\/figcaption><\/figure>\n\n\n\n
\"Our<\/a>
Our Positive Bodies: Mapping Our Treatment, Sharing Our Choices<\/figcaption><\/figure>\n\n\n\n
\"Landscape<\/a>
Landscape Drawings from the Marsden Hartley Memorial Collection<\/figcaption><\/figure>\n\n\n\n
\"Bernard<\/a>
Bernard Langlais: Medium and Abstraction<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2008-2009<\/h3>
<\/div><\/div>
\n
\n
\"Senior<\/a>
Senior Exhibition 2009<\/figcaption><\/figure>\n\n\n\n
\"The<\/a>
The Somali Diaspora: A Journey Away<\/figcaption><\/figure>\n\n\n\n
\"Recent<\/a>
Recent Acquisitions: Collection Project III<\/figcaption><\/figure>\n\n\n\n
\"Plien<\/a>
Plien Air Painting Exhibition of the Workshop 2008<\/figcaption><\/figure>\n\n\n\n
\"Figure<\/a>
Figure Drawings from the Marsden Hartley Memorial Collection<\/figcaption><\/figure>\n\n\n\n
\"Stairway<\/a>
Stairway to Heaven<\/figcaption><\/figure>\n\n\n\n
\"Flourishing<\/a>
Flourishing Folk<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2007-2008<\/h3>
<\/div><\/div>
\n
\n
\"\"<\/a>
Senior Exhibition 2008<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
The Kimono and Traditional Japanese Culture: Investigating Kimono through Ukiyo-e<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Taking Different Trails: The Artists’ Journey to Katahdin Lake<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Wildness within Wildness without<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Restop: The Proposal<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a>
Green Horizons<\/figcaption><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2006-2007<\/h3>
<\/div><\/div>
\n
\n
\"Senior<\/a>
Senior Exhibition 2007<\/figcaption><\/figure>\n\n\n\n
\"Scrape,<\/a>
Scrape, Cut, Gouge, Bite, Print…The Graphic Work of Charlie Hewitt 1976-2006<\/figcaption><\/figure>\n\n\n\n
\"Cryptozoology:<\/a>
Cryptozoology: Out of Time Place Scale<\/figcaption><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2005-2006<\/h3>
<\/div><\/div>
\n
\n
\"Josef<\/a>
Josef Koudelka<\/figcaption><\/figure>\n\n\n\n
\"Senior<\/a>
Senior Exhibition 2006<\/figcaption><\/figure>\n\n\n\n
\"Eric<\/a>
Activator<\/figcaption><\/figure>\n\n\n\n
\"Keith<\/a>
Keith Tyson<\/figcaption><\/figure>\n\n\n\n
\"Off<\/a>
Off the Coast: Landscape Chronology<\/figcaption><\/figure>\n\n\n\n
\"Bates<\/a>
Bates Faculty<\/figcaption><\/figure>\n\n\n\n
\"Robert<\/a>
Robert Indiana: The Hartley Elegies<\/figcaption><\/figure>\n\n\n\n
\"The<\/a>
The Environment of Landscape: Works from the Olivia and Ellwood Straub Collection<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2004-2005<\/h3>
<\/div><\/div>
\n
\n
\"Senior<\/a>
Senior Exhibition 2005<\/figcaption><\/figure>\n\n\n\n
\"Early<\/a>
Early French Photography: Art and Industry<\/figcaption><\/figure>\n\n\n\n
\"New<\/a>
New Acquisitions: Local and Global Contemporary Photography<\/figcaption><\/figure>\n\n\n\n
\"Between<\/a>
Between Science and Art: X-ray Photographs by Judith K. McMIllan<\/figcaption><\/figure>\n\n\n\n
\"The<\/a>
The Body Holographic: Harriet Casdin-Silver<\/figcaption><\/figure>\n\n\n\n
\"Videodrome<\/a>
Videodrome II<\/figcaption><\/figure>\n\n\n\n
\"Marsden<\/a>
Marsden Hartley: Image and Identity<\/figcaption><\/figure>\n\n\n\n
\"Wenda<\/a>
Wenda Gu: Art from Middle Kingdom to Biological Millennium<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n

2003-2004<\/h3>
<\/div><\/div>
\n
\n
\"Senior<\/a>
Senior Exhibition 2004<\/figcaption><\/figure>\n\n\n\n
\"Documenting<\/a>
Documenting China: Contemporary Photography and Social Change<\/figcaption><\/figure>\n\n\n\n
\"From<\/a>
From Byzantium to Russia: Popular Icons for Personal Devotion<\/figcaption><\/figure>\n\n\n\n
\"Manuel<\/a>
Manuel L\u00f3pez Oliva, Cuba and the Theater of Desire<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

2025 – 2026 Precision and Expression:American Studio Ceramicsfrom the E. John Bullard…<\/p>\n","protected":false},"author":5,"featured_media":21669,"parent":1152,"menu_order":1,"comment_status":"closed","ping_status":"open","template":"","meta":{"_hide_ai_chatbot":false,"_ai_chatbot_style":"","associated_faculty":[],"_Page_Specific_Css":"","_bates_restrict_mod":false,"_dimp_site_id":"","_dimp_override_contact":false,"_table_of_contents_display":false,"_table_of_contents_location":"","_table_of_contents_disableSticky":false,"_is_featured":false,"footnotes":"","_bates_seo_meta_description":"","_bates_seo_block_robots":false,"_bates_seo_sharing_image_id":0,"_bates_seo_sharing_image_twitter_id":0,"_bates_seo_share_title":"","_bates_seo_canonical_overwrite":"","_bates_seo_twitter_template":"","_links_to":"","_links_to_target":""},"class_list":["post-11437","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/pages\/11437","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/comments?post=11437"}],"version-history":[{"count":60,"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/pages\/11437\/revisions"}],"predecessor-version":[{"id":21944,"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/pages\/11437\/revisions\/21944"}],"up":[{"embeddable":true,"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/pages\/1152"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/media\/21669"}],"wp:attachment":[{"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/media?parent=11437"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}