Abelardo Morell - Artist's portrait - Image via alturasfoundationorg

Abelardo Morell

Cuba 1948



Abelardo Morell
Abelardo Morell
September 10, 2016

Connecting the modern approaches with the earliest beginnings and first techniques that announced photography, Abelardo Morell became recognizable for his employment of the variety of unusual methods, such as tintypes, glass negatives, wet plate collodion, cyanotypes, cliché-verres and, most famously, the camera obscura. Deftly balancing the philosophical thoughts, scientific severity, and modern traditions, his images evoke the Impressionist paintings where beautiful landscapes are juxtaposed with unexpected and innovative elements conjoined into the new realities. Spending a lot of time with his son, the artist started to show an interest in the exploration of the world from a child’s perspective, approaching common objects in a different way by distorting angles, exaggerating the close-ups, and changing perspectives, challenging the viewer’s perception of the things he sees. His fascination with reality and illusion is the most obvious in his Camera Obscura series, which remained his most ambitious projects and the landmark of his career.

 This tent camera photo shows the recent view on the bridge form 2013. It is on the current display at the exhibition view at gallery in Atlanta
Abelardo Morell – Tent Camera Image on Ground, View on the Golden Gate Bridge from Battery East, 2012

Early Life, Related Influences, and Discovery of Camera Obscura

Abelardo Morell was born in 1948 in Havana, the capital of Cuba. During his early childhood, he has already discovered his love towards photography, spending many hours looking at pages of photographs in National Geographic magazines he has found in his uncle’s house. In 1962, his family immigrated to the United States, which later greatly influenced his approach to art and creativity. Although scared and insecure because of the new environment where he faced conflicts of cultures and languages, Morell has also felt some kind of encouragement and wish for adventure. Not knowing the language turned out to be an advantage, enabling him to explore alternative ways of making impressions of his new country, employing his senses. Pursuing his artistic strivings, the artist earned his undergraduate degree at the Bowdoin College in Maine and an MFA in Photography at the Yale University School of Art in 1981. The photography classes he attended underlined the passion he felt for this medium, confirming that it had the power to make him express his deepest feelings of alienation and absurdity bottled up through the years. During his developing years, he was mostly influenced by greatest names of the street photography, such as Henry Cartier-Bresson and Robert Frank. After the great success with Light Bulb, that confirmed that any room and space could be used as a camera, in 1991, Morell started to work on his landmark series, Camera Obscura. In that time, he held the teaching position at the Massachusetts College of Art where actually began his lifelong artistic journey. At one of his classes, he was demonstrating to his students the basic principles of photography – the illumination passing through an aperture projecting the image. In order to produce a camera obscura image, Morell had to cover all windows with black plastic to get a total darkness. After cutting a small hole in the material, the inverted projection of an outside world – street, cars, people and buildings – appeared on the wall. In the beginning, Morell used a large-format 4×5 view camera with black-and-white films, spending a whole summer trying to figure out the correct exposures in order to capture camera obscura effect with the best results. Extremely long, those exposures took from five to ten hours.

For his more recent body of work, Morell began to experiment with color film, using Mamiya 645 camera equipped with a digital back. As the result, new images appear sharper and more detailed, with increased brightness. The employment of prism enabled him to render the incoming projections right-side up and with help of digital technology the artist managed to shorten the exposures considerably, making it possible to catch more passing temporary light[1]. From the first disorienting impression when the viewer seeks for something familiar, minds need to take a moment to comprehend that image actually presents the exterior world projected upside down on an interior setting. Sometimes contributing to initial disorientation, Morell includes elements such as painting on the wall with an inverted image, or opened door as a passage to whole new reality. The principle behind his distinctive technique has been known for centuries. There are records where Aristotle mentions this phenomenon and the first detailed explanation was given by Muslim scholar Abu Ali Al-Hasan Ibn al-Haitham in the 10th century. In the past, camera obscura was used for different purposes, to depict the world outside the dark chamber, while Morell has a totally different approach and goal, combining the exterior with the interior world, changing the way of perception of both[2]. Mechanically simple, these images are technically sophisticated and artistically subtle and surprising, characterized by playful sensibility hidden behind its initial confusion. Once he tried to include himself in the photograph, but considering the fact that each exposure for the Camera Obscura series requires approximately eight hours, he became exhausted and started hallucinating and the effect on the image was the only almost visible trace of the human figure which thwarted his idea of including people in his work.

In 1991, Abelardo Morell started to work on his landmark Camera Obscura series

 Looking in the room the viewers also have a contact with image of park projected on the wall. The current view from this room is on park and gallery
Abelardo Morell – Camera Obscura, View on Hotel de Ville, Paris, 2015

Photograms, Cliché-Verres, and Book Illustrations

Skillfully balancing philosophical approach with a scientific precision, Morell continues to experiment and play, creating various collages, Photograms, cliché-verres, improving camera obscura technique and developing new methods such as adopting a tent so that he can take the images outdoors. Merging the drawing, painting, and photography, one of the most unusual techniques he uses, cliché-verres, literally means glass picture and originates from the 19th-century practice of making handmade negative. The original process of creation includes a piece of flat glass smoked with a lit candle, whose surface is then scratched with a sharp pointed instrument. After making drawings on a glass, the surface is placed over a sheet of photographic paper and exposed to luminescence, giving the interesting lines in black on a white background. In a similar manner he creates Photograms, the photographic images made without the camera, but with the use of light-sensitive material, commonly photographic paper on which is placed some object later exposed to illumination. The resulting negative shadow image represents the various tones, depending upon the transparency of the used object. Morell uses this technique to produce handmade negatives with 8×10 film, creating captivating pieces after exposing negatives to light.

Besides photography, Morell is also active in the fields of illustration, publications, and book publishing, and since 1995 when he issued his A Camera in a Room by Smithsonian Press, the artist created several successful publications and monographs, such as Camera Obscura printed in 2004 by Bulfinch, and Abelardo Morell, published by Phaidon in 2005, and a limited edition book by The Museum of Modern Art – MoMA in New York about his cliché-verre photo series, with a text written by Oliver Sacks. His most interesting and at the same time most famous book is a photographic illustration of Alice’s Adventures in Wonderland published in 1998 by Dutton Children’s Books. For this project, the artist had in mind that books themselves should form the architecture and landscapes of the places described in Lewis Carroll’s famous novel. Morell made photographs that visually suit the tale of Alice well – his illustrations merge drawings and the book itself, making the feeling of how the traveling to Wonderland could really seem. Having an interesting life and career, Abelardo Morelli was a subject of the documentary Shadow of the House, filmed in 2007, which explored his artistic experiences and life’s turmoil related to the sense of identity, familial commitment, and cultural politics between Cuba and the United States. Following the artist and his family for over seven years, film director Allie Humenuk worked completely alone on this achievement. One of the most interesting details during the filming was the occasion when Morell decided to return to Cuba, for the first time since his escape in 1962 and more than forty years of living in exile, which provoked a stream of disagreement and fear in his family. Film’s title refers to several meanings, pointing out the term of shadows as an inseparable part of his person – it could be said that he has spent his life living in a shadow of Cuba and eventually it became the key ingredient for his artistic process and technique. Elegantly crafted and complex, this in-depth documentary also represents a rare look into Morell’s past and his unique artistic vision. The beauty of the Shadow of the House lies in the way it gives shadows their due, but at the same time not losing sight of the predominance of light in both Abelardo Morell’s art and life.

Besides photography, Morell’s work also includes illustrations and books publications

 This is a view on his books illustrations. He is looking from his point of view
Abelardo Morell – Alice in Wonderland, The Mock Turtle’s Story, 1998 (Left) / A Mad Tea Party, 1998 (Right)

Exhibitions and Recognitions

During his long career, Morell’s work has been featured in numerous group and solo exhibitions, at the renowned art venues and institutions such as Museum of Modern Art – MoMA in New York, The Whitney Museum of American Art, the Metropolitan Art Museum in New York, The Chicago Art Institute, The San Francisco Museum of Modern Art, The Houston Museum of Art, The Boston Museum of Fine Art, and The Victoria and Albert Museum in London. A major retrospective dedicated to his achievements titled The Universe Next Door was firstly on display at the Art Institute of Chicago in 2013 and later touring to the Getty Museum in Los Angeles and The High Museum in Atlanta. The exhibition included over 100 pieces made from 1986 until 2013, embracing a wide range of works, from his earliest series to Photograms, cliché-verres, to the new, digitally manipulated color photographs. His opulent oeuvre was recognized and confirmed by a number of honors and grants, including a Cintas grant in 1992, a Guggenheim fellowship in 1994, a Rappaport Prize in 2006 and an Alturas Foundation grant in 2009, and most recently the International Center of Photography Infinity award in Art, in 2011[3]. In 1997, Morell received an honorary Doctor’s degree in Fine Arts from Bowdoin College.

Abelardo Morell currently lives and works in Boston.


  1. Woodward, R. B. Abelardo Morell, Phaidon Press, 2005
  2. O’Neill, T. (2011) Bravura Camera Obscura, The National Geographic [September 10, 2016]
  3. Anonymous. Biography, Abelardo Morell, [September 10, 2016]

Featured image: Abelardo Morell – Artist’s portrait – Image via alturasfoundation.org
All other images copyright of the artist

YearExhibition TitleGallery/MuseumSolo/Group
2016Our America: The Latino Presence in American Artllentown Art Museum, Allentown, PAGroup
2016Our America: The Latino Presence in American ArtDelaware Art Museum, Wilmington, DEGroup
2016Iconocracia. Imagen del poder y poder de las imágenes en la fotografía cubana contemporáneaCentro Atlántico de Arte Moderno (CAAM), Las Palmas de Gran CanariaGroup
2015America Is Hard to SeeWhitney Museum of American Art, New York City, NYGroup
2015Open RhapsodyBeirut Exhibition Center, BeirutGroup
2015Winter Review Edwynn Houk Gallery - Zürich, ZurichGroup
2015Henri Cartier-Bresson e gli altri. I grandi fotografi e l’ItaliaPalazzo della Ragione Fotografia, MilanGroup
2014Cuban America: An Empire State Of MindLehman College Art Gallery, New York City, NYGroup
2014Modern Alchemy: Experiments in PhotographyHeckscher Museum of Art, Huntington, NYGroup
2014Our America: The Latino Presence in American ArtCrocker Art Museum, Sacramento, CAGroup
2014Abelardo Morell: The Universe Next DoorThe High Museum of Art, Atlanta, GASolo
2013Legacy: Photographs From Emily Fisher Landau’S Gift To The Whitney Museum Of American ArtFisher Landau Center For Art, New York City, NYGroup
2013Group Photography ShowDouglas Udell Gallery - Calgary, Calgary, ABGroup
2013Light of DayTransformer Station, Cleveland, OHGroup
2013Abelardo Morell: The Universe Next DoorThe Art Institute of Chicago, Chicago, ILSolo
2013Abelardo Morell: The Universe Next DoorThe J. Paul Getty Museum, Los Angelos, CASolo
2012International OrangeFOR-SITE Foundation, San Francisco, CAGroup
2012Rock Paper ScissorsBonni Benrubi Gallery, New York, NYSolo
2012Abelardo MorellPasadena City College Art Museum, Pasadena, CASolo
2012Between Past and Present: The Homer Studio Photographic ProjectPortland Museum of Art, Portland, MEGroup
2012A Generous Medium: Photography at Wellesley 1972-2012Davis Museum at Wellesley College, Wellesley, MAGroup
2012Photography from the Museum CollectionFralin Museum of Art, Charlottesville, VAGroup
2011Of Weeds and Wildness: Nature in Black and WhiteMandeville Gallery, Union College, Schenectady, NYGroup
2011Science of Sight: Alternative PhotographyHaines Gallery, San Francisco, CAGroup
2011Cliché-Verre in the Digital AgeJenkins Johnson Gallery, San Francisco, CAGroup
2011Mannerism and Modernism: The Kasper Collection of Drawings and PhotographsThe Morgan Library and Museum, New York, NYGroup
2011ProcessEdwynn Houk Gallery, New York, NYGroup
2010Alice's Adventures in Wonderland709 Penn Avenue Gallery, Pittsburgh, PASolo
2010The More Things ChangeSan Francisco Museum of Modern Art, San Francisco, CAGroup
2010Focus on Photography: Recent AcquisitionsMildred Lane Kemper Art Museum, St. Louis, MOGroup
2010GroundworkBonni Benrubi Gallery, New York, NYSolo
2010Incognito: the Hidden Self-PortraitYancey Richardson Gallery, New York, NYGroup
2010The Universe Next DoorBryce Wolkowitz Gallery, New York, NYSolo
2010Embarassment of Riches: Picturing Global WealthMineapolis Institute of Arts, Minneapolis, MOGroup
2009Continental DriftDanforth Museum of Art, Framingham, MASolo
2009Abelardo Morell: Recent WorksMichel Soskine Gallery, Madrid, SpainSolo
2009LocationDanziger Projects, New York, NYGroup
2009A Gallerist's ChoiceMichael Hoppen Gallery, London, UKGroup
2009Alice in Pictureland: Illustrations of Lewis Carroll's Classic TalesBrandywine River Museum, Chadd's Ford, PAGroup
2009Picturing New York: Photographs from the Museum of Modern ArtMuseo di arte moderna e contemporanea di Trento e Rovereto, ItalyGroup
2009Vision RevealedMuseo Nacional de Bellas Artes, Buenos Aires, ArgentinaSolo
2009The Universe Next DoorSouthwest School of Art and Craft, San Antonio, TXSolo
2009Abelardo Morell: Through the Camera's EyeFox Talbot Museum, Wiltshire, EnglandSolo
2009Abelardo MorellPingyao International Photography Festival, Pingyao, ChinaSolo
2008Artist’s Choice: Vik Muniz, RebusMuseum of Modern Art, New York, NYGroup
2008Pictures In PicturesBernard Toale Gallery, Boston, MASolo
2008When In Rome: Photographs by Abelardo MorellValentina Moncada Gallery, Rome, ItalySolo
2008A Mind at PlayThe Art Institute of Chicago, Chicago, ILGroup
2008Family Album: The Karl and Bertl Arnstein Print CollectionAkron Art Museum, Akron, OHGroup
2008A Matter of TimeAndrea Meislin Gallery, New York, NYGroup
2008You Can’t See This: Photography at the Limits of VisibilityBowdoin College Museum of Art, Brusnwick, MEGroup
2008Presumeed Innocence: Photographic Perspectives of ChildrenDeCordova Museum and Sculpture Park, Lincoln, MAGroup
2008ING Real Photography Award ExhibitionLP II Art Exhibition Centre, Rotterdam, The NetherlandsGroup
2008Transformation AGOArt Gallery of Ontario, Ontario, CanadaGroup
2008Fragile Beauty – Glass in ArtMuseum Kunst Palast, Dusseldorf, GermanyGroup
2008Brought to Light: Photography and the Invisible, 1840-1900San Francisco Museum of Modern Art, San Francisco, CAGroup
2008Selections ‘08Paine Gallery, Massachusetts College of Art, Boston, MAGroup
2008Behind the Seen: The Photographs of Abelardo MorellYale University Art Gallery, New Haven, CTSolo
2008Pictures In PicturesBonni Benrubi Gallery, New York, NYSolo
2007A Room with A View: The Photography of Abelardo MorellMead Art Gallery, Amherst College, Amherst, MASolo
2007NY-C Photo ExhibitionPhillips de Pury & Co, New York, NYGroup
2007Love of LightKunstmuseum Celle mit Sammlung Robert Simon, Celle, GermanyGroup
2007The Other Side of Light: Shadows from the Photography CollectionArt Institute of Chicago, Chicago, ILGroup
2007The Photographs of Abelardo MorellUniversity of New England, Portland, MaineSolo
2007Abelardo MorellSala de la Comunidad de Murcia, Murcia, SpainSolo
2007New Perspectives in Latin American Art, 1930-2006Museum of Modern Art, New York, NYGroup
2007Abelardo MorellInstituto Jovellanos, Fundacion Municipal de Cultura, Gijon, SpainSolo
2007Abelardo MorellInstituto de America, Granada, SpainSolo
2007Abelardo Morell – Camera ObscurasDanziger ProjectsSolo
2007Vision Revealed: Selections from the work of Abelardo MorellCentro Cultural Recoleta, Buenos Aires, ArgentinaSolo
2007Vision Revealed: Selections from the work of Abelardo MorellCentro de la Imagen, Mexico City, MexicoSolo
2007Summer ReadingBernard Toale Gallery, Boston, MAGroup
2006Abelardo MorellDiputación de Málaga, Málaga, SpainSolo
2006Abelardo MorellMichel Soskine Inc., Madrid, SpainSolo
2006Vision Revealed: Selections from the work of Abelardo MorellMuseum de Arte Moderno, Sao Paulo, BrazilSolo
2006Vision Revealed: Selections from the work of Abelardo MorellMuseum Nacional de Bellas Artes, Santiago, ChileSolo
2006In Focus: 75 Years of Collecting American PhotographyAddison Gallery of American ArtGroup
2006Fine Old MastersBerheimer, Munich, GermanyGroup
2006Peintres de la vie ModerneCentre Pompidou, Paris FranceGroup
200619 on 19Galerie Negulesco, Munich, GermanyGroup
20067 PhotographersMichel SoskineInc., Madrid, SpainGroup
2006Taken With Time – A Camera Obscura ProjectThe Print Center, Philadelphia, PAGroup
2006Shifting Terrain: Contemporary Landscape PhotographyWadsworth Antheneum Museum of Art, Hartford, CTGroup
2006New to View: Recent Acquisitions in PhotographyWorcester Art Museum, Worcester, MAGroup
2006Furthermore: Recent work by Abelardo MorellBonni Benrubi Gallery, New York, NYSolo
2005Several Artists Consider BooksPaul Kopeikin Gallery, Los Angeles, CAGroup
2005BibliothecaSteven Bulger Gallery, Toronto, CanadaGroup
2005On View: Photographing the MuseumYancey Richardson Gallery, New York, NYGroup
2005A View With a Room: Abelardo Morell’s Camera Obscura PhotographsThe Art Institute of Chicago, Chicago, ILSolo
2005Abelardo Morell: New PhotographsBernard Toale Gallery, Boston, MASolo
2005Abelardo MorellMichel Soskine Inc., Madrid, SpainSolo
2005Abelardo MorellPalau de la Virreina, Barcelona, SpainSolo
2005Still Life and Stilled Lives – A Group ExhibitionAriel Meyerowitz Gallery, New York, NYGroup
2005A History of PhotographyChrysler Museum of Art, Norfolk, VAGroup
2005Beyond Big: Oversized Prints, Drawings, and PhotographsThe Detroit Institute of ArtsGroup
2005Photographs: Recent AcquisitionsFisher Landau Center for ArtGroup
2005Twice-Told Tales: Photographs and Their Stories from Alumni CollectionsHerbert F. Johnson Art Museum, Cornell University, Ithaca, NYGroup
2005Beauty and the BookThe Israel Museum, Jerusalem, IsraelGroup
2005WordplayJulie Saul Gallery, New York, NYGroup
2005Overhead-Underfoot: The Topographical Perspective in PhotographyWhitney Museum of American Art, New York, NYGroup
2005Reinstallation of the CollectionMuseum of Modern Art, New York, NYGroup
2005The Book of Books: Year of the BookJackson Fine Art, Atlanta, GASolo
2004Island Nations: New work from Cuba, Dominican Republic and Puerto RicoRISD Museum, Providence, RIGroup
2004Reinstallation of the CollectionMuseum of Modern Art, New York, NYGroup
2004Light BoundMinneapolis Institute of Arts, Minneapolis, MNGroup
2004Uncharted Territory: Subjective Mapping by Artists & CartographersJulie Saul Gallery, New York, NYGroup
2004Quiet Contrast: Recent Acquisitions of PhotographyHood Art Museum, Dartmouth College, Dartmouth, NHGroup
2004Outside-InNina Freudenheim Gallery, Buffalo, NYGroup
2004Common Ground: Discovering Community in 150 Years of Art, Selections from the Collection of Julia J. NorrellCorcoran Gallery of Art, Washington, DCGroup
2004Abelardo MorellFrost Art Museum, Florida International University, Miami, FLSolo
2004Abelardo MorellMichael Hoppen Contemporary, London, EnglandSolo
2004About TimeBonni Benrubi Gallery, New York, New YorkSolo
2004Site Seeing: Photographic Excursions in TourismGeorge Eastman House, International Museum of Photography and Film, Rochester, NYGroup
2003Abelardo MorellBernard Toale Gallery, Boston, MASolo
2003Abelardo MorellDouglas Udell Gallery, Vancouver, CanadaSolo
2003Book LightColumbia College Chicago’s Center for Book and Paper Arts, Chicago, ILGroup
2003Visions and Revisions: Art on Paper Since 1960Boston Museum of Fine Arts, Boston, MAGroup
2003Contemporary Photographs and Prints from the Bruce Brown CollectionColby College Museum of Art, MEGroup
2003Histories of PhotographyFrances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NYGroup
2003Celebrating Central Park 1853-2003Hirchl & Adler Gallery, New York, NYGroup
2003Cuba on the VergeInternational Center of Photography, New York, NYGroup
2003Growing Up: Childhood in American and Native American ArtMontclair Art Museum, Montclair, NJGroup
2003Prima FacieNina Freudenheim Gallery, Albany, NYGroup
2003Undomesticated InteriorsSmith College Museum of Art, Northampton, MAGroup
2003The Alphabet as ArtUniversity Gallery, UMass Lowell, Lowell, MAGroup
2003TwilightYancey Richardson Gallery, New York, NYGroup
2002What’s New: Recent Acquisitions in PhotographyWhitney Museum of American Art, New York, NYGroup
2002Sitelines: Art on MainAddison Gallery of American Art, Andover, MAGroup
2002Abelardo MorellBonni Benrubi, New York, NYSolo
2002Through the Looking GlassCatherine Edelman Gallery, Chicago, ILSolo
2002Spectral ImagesKenyon College Olin Gallery of Art, Gambier, OHSolo
2002In Your FaceAlan Koppel Gallery, Chicago, ILGroup
2002Paris Photo 2002Caroussel de Louvre, Paris, FranceGroup
2002What Were You Thinking? 15 Years of PhotographsCatherine Edelman Gallery, Chicago, ILGroup
2002Into the WoodsJulie Saul Gallery, New York, NYGroup
2002Arte Latino: Treasures from the Smithsonian American Art MuseumMuseum of Fine Arts, Santa Fe, NMGroup
2002Arte Latino: Treasures from the Smithsonian American Art MuseumOakland Museum of California, Oakland, CAGroup
2002Arte Latino: Treasures from the Smithsonian American Art MuseumPalm Springs Desert Museum, Palm Springs, CAGroup
2002Camera ObscuraShine Gallery, London, UKGroup
2002Visions from AmericaWhitney Museum of American Art, New York, NYGroup
2001La LuzNational Hispanic Cultural Center, Albuquerque, NMGroup
2001Can You Believe Your Eyes?Fitchburg Art Museum, Fitchburg, MAGroup
2001The Pin WholeThe University of Essex Art Gallery, Essex, EnglandGroup
2001What's New: Recent Acquisitions in PhotographyWhitney Museum of American Art, New York, NYGroup
2001Water: Photographs from the Permanent CollectionDeCordova Museum and Sculpture Park, Lincoln, MAGroup
2001Paris Photo 2001Caroussel de Louvre, Paris, FranceGroup
2001City: Prints and PhotographsBrooke Alexander, New York, NYGroup
2001The Crafted Image: Nineteenth Century Techniques in Contemporary PhotographyBoston University Art Gallery, Boston, MAGroup
2001Photograph and MonographBonni Benrubi Gallery, New York, NYGroup
2001Still LightBeadleston Gallery, New York, NYGroup
2001The Object as Subject: Photographs from the Permanent CollectionThe Art Institute of Chicago, Chicago, ILGroup
2001Abelardo MorellSicardi Gallery, Houston, TXSolo
2001Abelardo Morell and the Camera EyeGeorge Eastman House, Rochester, NYSolo
2001Abelardo Morell and the Camera EyeThe Detroit Institute of Arts, Detroit, MISolo
2001Camera ObscuraShine Gallery, London, EnglandSolo
2001Arte Latino: Treasures from the Smithsonian American Art MuseumOrlando Museum of Art, Orlando, FLGroup
2001Abelardo Morell and the Camera EyeBayly Art Museum of the University of Virginia at Charlottsville, Charlottsville, VASolo
2001Voyages (per) FormedPhotographic Resource Center, Boston University, Boston, MAGroup
2000Latin American Artists-Photographers- from the Lehigh University Galleries' CollectionEl Museo del Barrio, New York, NYGroup
2000Hope PhotographsKatonah Museum of Art, Katonah, NYGroup
2000Personae: Portraits from the CollectionThe Museum of Contemporary Photography, Columbia College, Chicago, ILGroup
2000Bill Barrette - Sculptures and Abelardo Morell - PhotographsJaffe-Fiede & Strauss Galleries, Darmouth College, Hanover, NHGroup
2000Expanded VisionsMuseum of Photographic Arts, San Diego, CAGroup
2000American Photography: Recent Additions to the Hallmark Photographic CollectionThe Nelson - Atkins Museum of Art, Kansas City, MOGroup
2000Representing the IntangiblePhotographic Resource Center, Boston, MAGroup
2000Staged and Manipulated: Photographic Fictions from St. Louis CollectionsThe Saint Louis Art Museum, Saint Louis, MOGroup
2000Breathless - Photography and TimeVictoria and Albert Museum, London, EnglandGroup
2000Insights: Interior Spaces in Contemporary ArtWhitney Museum of American Art at Champion, Stamford, CTGroup
2000One Man's Eye - Photographs in the Collection of Alan SiegelHerbert Johnson Museum of Art, Cornell University, Ithica, NYGroup
2000Summer ReadingThe Frances Lehman Loeb Art Center, Vassar College, Pougkeepsie, NYGroup
2000New York Now 2000The Museum of the City of New York, New York, NYGroup
2000Arte Latino: Treasures from the Smithsonian American Art MuseumEl Paso Museum of Art, El Paso, TXGroup
2000Celebrating Contemporary Art in New England: Recent AcquisitionsDeCordova Museum and Sculpture Park, Lincoln, MAGroup
2000Still LightBeadleston Gallery, New York, NYGroup
2000Photography Against Itself: Contemporary Photographs from the MuseumBayly Art Museum, University of Virginia, Charlottsville, VAGroup
2000Abelardo Morell and the Camera EyeUniversity Art Museum, University of New Mexico, Albuquerque, NMSolo
2000Abelardo Morell and the Camera EyeThe Saint Louis Art Museum, St. Louis, MOSolo
2000Alice in WonderlandLocus Gallery, St. Louis, MOSolo
2000Abelardo Morell and the Camera EyeLehigh University Art Galleries, Musem Operation, Bethlehem, PASolo
2000Abelardo Morell and the Camera EyeLimonaia di Villa Strozzi, Florence, ItalySolo
2000The Universe Next DoorBonni Benrubi Gallery, New York, NYSolo
2000Open Ends - Architecture Hot and ColdThe Museum of Modern Art, New York, NYGroup
1999Full Exposure: Contemporary PhotographyNew Jersey Center for Visual Arts, Summit, NJGroup
1999An American Century of Photography: The Hallmark Photographic CollectionThe Phillips Collection, Washington, DCGroup
1999Picturing Modernity: Photographs from the Permanent CollectionSan Francisco Museum of Modern Art, San Francisco, CAGroup
1999Visions of ChildhoodSoho Triad Fine Arts, New York, NYGroup
1999Summer ReadingYancey Richardson Gallery, New York, NYGroup
1999Abelardo Morell and the Camera EyeBowdoin College Museum of Art, Brunswick, MESolo
1999Abelardo MorellFahey Klein Gallery, Los Angeles, CASolo
1999Abelardo Morell and the Camera EyeMuseum of Fine Arts, Boston, MASolo
1999Future-Present: Photographs of Children from the Reader's Digest CollectionThe Aldrich Museum of Contemporary Art, Ridgefield, CTGroup
1999WaterproofBelem Cultural Centre, Lisbon, PortugalGroup
1999Boston Photographer's ProjectThe Boston Public Library, Boston, MAGroup
1999Building Representation: Photography and Architecture, Contemporary InteractionFogg Art Museum, Harvard University, Cambridge, MAGroup
199920TwentyFraenkel Gallery, San Francisco, CAGroup
1999Abelardo MorellBassetti Fine Arts Photographs, New Orleans, LASolo
1999American Photographs Part 3: 1968-1999James Danziger Gallery, New York, NYGroup
1999Autour de L'insoliteModernism Gallery, San Francisco, CAGroup
1999A Collective Vision: Gifts to the Photographs CollectionThe National Gallery of Canada, Ottawa, Ontario, CanadaGroup
1999Collectors Collect Contemporary: 1990-99The Institute of Contemporary Art, Boston, MAGroup
1998Abelardo MorellBonni Benrubi Gallery, New York, NYSolo
1998Abelardo MorellCatherine Edelman Gallery, Chicago, ILSolo
1998Abelardo MorellCleveland Museum of Art, Cleveland, OHSolo
1998Face to FaceIsabella Stewart Gardner Museum, Boston, MASolo
1998Abelardo Morell and the Camera EyeMuseum of Photographic Arts, San Diego, CASolo
1996Abelardo MorellFraenkel Gallery, San Francisco, CASolo
1996Abelardo MorellBonni Benrubi Gallery, New York, NYSolo
1995Abelardo MorellThe Boston Athenaeum, Boston, MASolo
1995Abelardo MorellRobert Klein Gallery, Boston, MASolo
1995Abelardo MorellJackson Fine Art, Atlanta, GASolo
1995Abelardo MorellJan Abrams Gallery, Los Angeles, CASolo
1994Abelardo MorellBonni Benrubi Gallery, New York, NYSolo
1993Abelardo MorellNational Arts Club, New York, NYSolo
1989Abelardo MorellBowdoin College Museum of Art, Brunswick, MESolo
1988Abelardo MorellNorth Gallery, Boston, MASolo
1988Abelardo MorellMidtown Y Gallery, New York, NYSolo