Sarah Morris’ work in painting and film explores the structures and systems that organize contemporary life. Drawing on references ranging from architecture and industrial design to cartographic symbols, language, sociological diagrams, and game theory, her paintings translate the dynamics of contemporary life into visual patterns. The atmosphere of cities is distilled into color schemes; the reading of an audio signal becomes a graphic motif; and the constructive logic of the digitalized, abstract circuits of late capitalism is broken down into lines and curves across the canvas. Sleek in surface and structure, the paintings transform roundabouts, glass facades and street networks into a shared vocabulary between the city’s macroscopic scale and the pictorial plane, while also alluding to the networks of authority and decision-making that shape everyday life. In parallel, her films extend this investigation into the moving image. Shot in cities around the world, they trace the rhythms of urban, political, and institutional environments through a precise choreography of architecture, infrastructure, and everyday activity. Like the paintings, the films map the hidden systems—economic, social, and spatial—that shape contemporary urban experience, situating the viewer within the larger frameworks through which power circulates in the contemporary city.

Among her recent solo exhibitions are Transactional Authority, Nakanoshima Museum of Art, Osaka, Japan (2026); All Systems Fail, Kunstmuseum Stuttgart, Germany; Zentrum Paul Klee, Bern, Switzerland (2024); Who is Who, Tai Kwun Contemporary, Hong Kong; ETC, M+, Hong Kong (2024); Kunstmuseen Krefeld, Germany (2023); Deichtorhallen Hamburg, Germany (2023); As Slow As Possibles, Escape Louis Vuitton, Munich, Germany (2023); Today we find ourselves at an impasse, Fortes D’Aloia & Gabriel | Carpintaria, Rio de Janeiro, Brazil (2019) and Finite and Infinite Games, LUMA Foundation, Zurich, Switzerland (2018). She has also taken part in the group shows Untitled (Pictures from Paradise), MARCO – Museo de Arte Contemporáneo de Monterrey, Monterrey, México (2025); Cinco Ensaios sobre o MASP – Geometrias, MASP – Museu de Arte de São Paulo Assis Chateaubriand, São Paulo, Brazil (2025); Endeavours and Masterpieces, Frac Sud – Cité de l’art contemporain, Marseille, France (2024) and The Echo of Picasso, Museo Picasso, Málaga, Spain (2023).

Sarah Morris has works in important public collections, including Solomon R. Guggenheim Museum, New York, USA; Centre Pompidou, Paris, France; Museum of Modern Art, New York, USA; Tate Modern, London, UK; Museum für Moderne Kunst, Frankfurt, Germany; Kunsthalle Bremen, Bremen, Germany; San Francisco Museum of Modern Art, San Francisco, USA; Luma Foundation, Arles, France; Victoria and Albert Museum, London, UK; Kunstmuseum Ravensburg, Ravensburg, Germany; Kunstmuseum Wolfsburg, Wolfsburg, Germany; Osaka City Museum of Modern Art, Osaka, Japan; Museum of Contemporary Art of San Diego, San Diego, USA; Stedelijk Museum, Amsterdam, Netherlands; Musée d’Art Moderne de la Ville de Paris, Paris, France; Jumex Museum, Ciudad de Mexico, Mexico; Fondation Louis Vuitton, Paris, France; Solomon R. Guggenheim Museum, Saadiyat Island, Abu Dhabi; Städtische Galerie im Lenbachhaus, Munich, Germany; Beyeler Stiftung, Basel, Switzerland; Stuttgart Museum of Modern Art, Stuttgart, Germany; Sammlung Hoffmann, Berlin, Germany; National Gallery of Victoria, Melbourne, Australia; UBS Collection, New York, USA; British Council, London, UK; F.R.A.C. Bourgone, Dijon, France; F.R.A.C. Poitou-Charentes, Angoulême, France; Saatchi Collection, London, UK; Sammlung DaimlerChrysler, Berlin, Germany; Sammlung Goetz, Munich, Germany; Schaulager, Basel, Switzerland; Centre d’Art Contemporain, Dijon, France; Miami Art Museum, Miami, USA and Dallas Museum of Art, Dallas, USA.