Jim Hodges’ art has merged the practices of drawing and sculpture since the 1980s. From such large scale installations as his permanent glass sculptures at New York City’s Grand Central Terminal (2020) to such intimate works as the doodled napkins comprising Diary of Flowers (1994), a through-line in Hodges’ practice is his persistent and patient study of temporality, life, and love. His work has been the subject of numerous solo exhibitions at institutions including the Centre Pompidou, Paris; Camden Art Centre, London; the Aspen Art Museum; CGAC, Santiago de Compostela, Spain; Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York; and the Museum of Contemporary Art, Chicago. Most recently a major traveling retrospective of Hodges’s work was exhibited at the Institute of Contemporary Art, Boston; Walker Art Center, Minneapolis; the Dallas Museum of Art; and the Hammer Museum, Los Angeles. Hodges has received multiple awards and grants including the Association International des Critiques d’art, the Albert Ucross Prize, Washington State Arts Commission, and the Penny McCall Foundation Grant.