This fall, The Frick Collection presents a bold new dialogue between past and present through Four Seasons, a site-specific installation by British artist Flora Yukhnovich. On view through March 9, 2026, the mural transforms the museum’s Cabinet Gallery with an immersive reinterpretation of François Boucher’s celebrated series, The Four Seasons.
Known for her fusion of representation and abstraction, Yukhnovich has established herself as one of the most compelling voices in contemporary painting. Her practice draws inspiration from French Rococo, Italian Baroque, and Abstract Expressionism, reimagining the ornate, decorative traditions of European art history with a distinctly modern sensibility. The Frick installation allows her to respond directly to Boucher, whose works are cornerstones of the institution’s collection.
The Cabinet Gallery—formerly home to the Frick’s Boucher Room before its relocation to the museum’s second floor—now serves as a space for small-scale presentations and contemporary interventions. Yukhnovich’s sweeping mural envelops the room, creating a continuous landscape that collapses the boundaries between past and present.
For Xavier F. Salomon, the Frick’s Deputy Director and Peter Jay Sharp Chief Curator, the collaboration was a natural choice. He noted that Yukhnovich’s admiration for Boucher aligns seamlessly with the museum’s holdings and mission to explore connections between historical and contemporary art. By engaging with the Rococo master’s vision of seasonal cycles, Yukhnovich invites viewers to reconsider themes of ornamentation, fantasy, and natural transformation through a 21st-century lens.
The installation reflects Yukhnovich’s signature approach: energetic brushwork and layered textures that dissolve traditional compositions into dreamlike atmospheres. While her work references the lush landscapes and figures of Rococo painting, it resists nostalgia, instead interrogating how visual excess, pleasure, and fantasy function in today’s hyper-curated world.
Four Seasons also continues the Frick’s ongoing efforts to stage contemporary responses to its historic collection, encouraging audiences to see canonical works anew. For Yukhnovich, the project is both homage and reinterpretation—an opportunity to expand the dialogue between Boucher’s 18th-century aesthetic and the concerns of contemporary painting.
By transforming the Cabinet Gallery into an enveloping mural space, Yukhnovich creates a portal that blurs eras and styles. In doing so, she underscores the enduring relevance of Rococo visual language, inviting viewers to lose themselves in a landscape where history and imagination collide.