Sarah Hinckley is a painter living and working on Cape Cod, Massachusetts. Her work is in numerous corporate and private collections.

Sarah received an M.F.A. from Columbia University with a concentration in painting, a B.F.A. from Tufts University and a diploma from the School of the Museum of Fine Arts, Boston.

 
 
 

Browse Sarah’s oil paintings and works on paper.

ARTIST STATEMENT

"Painting is how I know what I am thinking, feeling and where I am going. It is how I filter all that is in the world around me."

Sarah in her Cape Cod studio.

Sarah in her Cape Cod studio.

My earliest inspirations for painting come from the landscape and light on Cape Cod. I grew up surrounded by color fields of water, marsh, beach, and sky. As I sought out and found support to pursue painting, I also grew my visual vocabulary to process thoughts and emotions. Later, while in art school I was drawn to the artists Marc Rothko, Agnes Martin, late Monet, and the formalist painters of the 60's that challenged my visual imagination and led me to explore greater depth in painting.

I approach painting intuitively, mapping out ideas and inspirations into color fields, shapes, and marks. I spend time editing which enables opportunities for new direction, color relationships and maybe something unexpected and beautiful. Certain elements in this visual dialogue remain open and unresolved, so my process slows. A painting can take several months to complete and there are always some works that remain in conversation much longer. Patience, restraint, and risk carry equal weight in my process. My challenge is to remain open to all the possibilities that are happening with the materials.

Travel and seeking out art is an important part of my creative process for inspiration and challenge. Recently, the exhibition of late Monet and Joan Mitchell paintings in Paris at the Louis Vuitton Foundation has impressed on me my affinity to painters who use formal means in expressing their emotions. The paintings then become unnamed spaces for viewers to experience.

Simple forms of beauty can easily be overlooked in an ever changing and challenging world. Striving to make something beautiful out of my own vocabulary feels imperative.

Watch Brooklyn Navy Yard video on Sarah and designer John Milich.

ESSAYS

Johnathan Goodman on Sarah Hinckley’s paintings

i watch them bloom (10), 12 x 9 inch watercolor, 2020

i watch them bloom (10), 12 x 9 inch watercolor, 2020

 
i watch them bloom (9), 12 x 9 inch watercolor, 2020

i watch them bloom (9), 12 x 9 inch watercolor, 2020

Sarah Hinckley grew up in Cape Cod, and her airy, sumptuous artworks reflect the sea and open skies of the geography found there. She also studied and worked in New York with its ongoing tradition of abstraction, which influences her current mature style which follows a path established by Mark Rothko and Agnes Martin, both proponents of a painterly, poetic abstraction. This combination of openness and subtle nonobjective effect recalls both a particular locale or place, and a painting tradition that contributes to a present-day lyricism that feels familiar, made so by our awareness of an especially American point of view. However, Hinckley’s style is very much her own, driven as it is by an abiding concentration directed toward the minimal and reductive effects of contemporary abstraction. Her work cannot be said to exist as a series, yet similarities between paintings or works on paper indicate that her efforts are part of an encompassing whole. The large and open central spaces occur along a continuum that unifies our visual experience of her approach and thinking process.

 

Perhaps the most engaging aspect of Hinckley’s painting is the combination of her attraction for minimal or simplified imagery, combined with her penchant for creating a visually gratifying work of art. She does in fact do this, realizing the shapes in her art, which are usually organic in nature, link her paintings with an esthetic of elegant simplicity. Yet we cannot see the art as merely simple or reductive; instead, its eloquence and lyricism originate in the Hinckley’s willingness to present a unified field of painting in which the poetry of her observations, no matter whether they occur on the edge or in the center of her compositions, communicates the openness of an unobstructed view. The results are not so much an alternative as a variant on mainstream painting. Thus, her lyricism and her feeling for structure are equivalent. This means that the emotional content cannot be separated from its formal expressiveness, which can only happen when an artist’s work is both strong and compelling.

 

The paintings tend to be defined by their peripheral effects, while the works on paper are less sparsely populated. In both cases, the organic is emphasized--this is not hard-edged geometric work, although Hinckley’s soft-edge organicism is resolutely nonobjective. Today, abstraction in art remains viable, in large part because painters like Hinckley keep it alive in displays of imagery that both challenge our sensibility and at the same time address a need for a beauty that cannot be easily dismissed. Indeed, beauty is key to our perception of Hinckley’s art, which refuses any excessively easy avenue of attractiveness even as it makes its claims based upon poetics that can be linked both to the pastoral and the urban. Thus, the rounded shapes and more linear forms that coexist in her watercolors are interesting because they tied together by color. In fact, color should not be seen as a secondary, but rather a primary interest in her work, which retains a persistent reading of nature even as its repertoire of styles link it to historical and artistic advances in New York abstraction. This means that our experience of Hinckley’s accomplished sensibility is a complex one, aided by her persistent regard for shape and color’s ability to build nearly celestial (but also earthy) structures on their own.

 

–Jonathan Goodman, Summer 2020

 

More essays

 

Follow Sarah on Instagram

Press

 
 
 

New England Home Magazine
Artists & Makers: Meet Artist Sarah Hinckley

dArt International Magazine
Dominique Nahas on Small Standing Tall

Vasari21
Peter Frank on Real Abstraction: Five Painters Beyond the Picture

Jacksonville Magazine, Home Design Quarterly
Pretty in Pink

The Hartford Courant
Making Her Mark

The Woven Tale Press
Sarah Hinckley

art ltd.
Excerpts from the Natural World

Visual Art Source
Editorial Review of Excerpts From the Natural World

Joanne Mattera Art Blog
Miami 101 (Part 1)

Joanne Mattera Art Blog
Viva Chelsea

re-title.com
Sarah Hinckley Everywhere Tomorrow at dm contemporary NYC

New England Home Magazine
Picture Perfect

“Hinckley’s abstract works evoke the place without directly referencing it; their forms and color palette suggest, but never describe. For this reason, they feel closer in spirit to the nature poetry of Cape Cod writers like Mary Oliver. You might even call them visual poems." – Laura C. Mallonee, writer and arts editor

Image courtesy of Littlejohn Contemporary

Image courtesy of Littlejohn Contemporary

Resume

Sarah Hinckley

Born in 1954 on Cape Cod, Sarah lives and works on Cape Cod, Massachusetts.

Print Resume

Education

Columbia University, New York NY. M.F.A.

School of the Museum of Fine Arts, Boston MA. Diploma & 5th year certificate

Tufts University, Medford MA. B.F.A.

California College of Arts & Crafts, Oakland CA, 1972-73


Solo Exhibitions

2023 — Delson or Sherman Architects, Brooklyn NY. Oils on Canvas & Paper by Sarah Hinckley

2022 — Deborah Berke Partners, New York NY. Sarah Hinckley: Wandering

2021 — BAM Art, Larchmont NY. Solo by Rooms

2021 — Cross Contemporary Partners, NY. Sarah Hinckley Solo Exhibition: New Paintings and Works on Paper, a virtual gallery exhibition

2019 — Steven Harris/Rees Roberts, New York NY.

2017 — Littlejohn Contemporary, New York NY. looking for some grace, Paintings and Watercolors

2016 — Chandra Cerrito Contemporary, Oakland CA. Sarah Hinckley, Esther Traugot and Mari Andrews

2015 — Littlejohn Contemporary, New York NY. Gallery B: Oil paintings and watercolors

2014 — Littlejohn Contemporary, New York NY. Gallery A: Sarah Hinckley

2013 — Cape Cod Museum of Art, Dennis MA. Polhemus Savery DaSilva Gallery: stillness of remembering

2012 — DM Contemporary, New York NY. somewhere over

2012 — Cahoon Museum of American Art, Cotuit MA. The Little Gallery: thoughts rearrange

2011 — Lauren Della Monica Fine Art, Wash Depot CT. POP-UP Gallery 

2010 — Steven Harris/Rees Roberts, New York NY. Recent Paintings

2009 — Emily Amy Gallery, Atlanta GA. Color Logic

2007 — Two Graces Gallery, Taos NM.

2006 — Sears Peyton Gallery, New York NY. Daily Practice

2004 — Sears Peyton Gallery, New York NY. Recent Paintings

2002 — Steven Harris/Rees Roberts, New York NY.

2001 — Steven Harris/Rees Roberts, New York NY.

2000 — Deborah Berke Partners, New York NY.

1997 — Deborah Berke Partners, New York NY.

1994 — 210 Gallery, Santa Rosa FL.

1990 — Columbia University, NY. M.F.A. Thesis Show


Group Exhibitions

2023 — BAM Art, Larchmont, NY., Thresholds of Abstraction

2023 — The Schoolhouse Gallery, Provincetown, MA. For Now

2023 — Atelier Modern, Larchmont, NY. BAM Art Takeover at Atelier Modern, an exhibition of nine contemporary artists designed and curated by Brooke Molinaroli

2023 — Kathryn Markel Fine Arts, New York, NY. Betty and Veronica, a group show of abstract artists curated by Joanne Freeman

2023 — Coral Gables Museum, Coral Gables, FL. The World is a Handkerchief, a traveling collaborative project by Claudia DeMonte and Cecilia Mandrile

2022 — Gallery Koyanagi, Tokyo, Japan. Gallery selection: 1990 - 2010

2022 — BAM Art, Larchmont, NY. Outside In: Textures & Abstractions, an outdoor art exhibition designed and curated by Brooke Molinaroli, created in collaboration with Stephen Moser Architect

2022 — The Schoolhouse Gallery, Provincetown, MA. All Possible Worlds II

2022 — Poliglota Gallery at Proyecto’ace, Buenos Aires, Argentina. The World is a Handkerchief, a traveling collaborative project by Claudia DeMonte and Cecilia Mandrile

2021 — Jameson and Thompson, Jamaica Plain, MA. Group show curated by Mike Carroll

2021 — The Schoolhouse Gallery, Provincetown, MA. All Possible Worlds

2021 — The Schoolhouse Gallery, Provincetown, MA. Summer Group Show

2021 — Joyce Goldstein Gallery, Chatham, NY. Small Standing Tall, Small Works By Big Artists

2021 — Impact 11, Hong Kong. International Printmaking Conference: The World is a Handkerchief, a traveling collaborative project by Claudia DeMonte and Cecilia Mandrile

2021 — Cross Contemporary Partners, NY. Real Abstraction: Five Painters Beyond the Picture, a virtual gallery exhibition curated by Peter Frank

2020 — Cross Contemporary Partners, NY. Inaugural Group Exhibition Part II, a virtual gallery exhibition of nine contemporary artists

2020 — Elizabeth Foundation for the Arts, New York NY. Blackburn Gallery 20|20: The World is a Handkerchief, a traveling collaborative project by Claudia DeMonte and Cecilia Mandrile

2019 — Sarah Shepard Gallery, Larkspur CA. Curated by 3walls, NYC

2019 — Lanoue Gallery, Boston MA. New Arrivals + New Artists

2019 — London Print Studio Gallery, London UK. The World is a Handkerchief, a traveling collaborative project by Claudia DeMonte and Cecilia Mandrile

2018-19 — Hallspace Gallery, Boston MA. Sacred Asymmetry-Abstraction Boston/New York, curated by Philip Gerstein

2018 — Littlejohn Contemporary, New York NY. We Never Sleep, recent prints curated by Valerie Hammond

2018 — Hartford Art School, West Hartford CT. Pele Prints at the Silpe Gallery

2018 — Littlejohn Contemporary, New York NY. Recent works inspired by nature and its beauty: Breakey, Daviket, Galka, Hogin, Hinckley, Kratz, Kroll, McBain and Prince

2018 — Littlejohn Contemporary, New York NY. Gallery highlights

2018 — The Epsten Gallery, Kansas City MO. Pele Prints at the Epsten, organized by Crescendo Conservatory Director Michele Hamlett-Weith

2018 — Cape Cod Museum of Art, Dennis MA. Preserving the Very Nature of Cape Cod

2017 — Littlejohn Contemporary, New York NY. Breakey, Hogin, Heffernan, Hammond, Kroll and Hinckley

2016 — Littlejohn Contemporary, New York NY. Rotating Show: Bramson, English, Hammond, Hinckley, Kratz, Droll, Stickney-Gibson

2016 — Mattatuck Museum, Waterbury CT. Making Her Mark, featuring six women artists: Laurie Simmons, Claudia DeMonte, Hayv Kahraman, Toyin Ojih Odutola, Lisa Ruyter and Sarah Hinckley, curated by Lauren P. Della Monica

2016 — Littlejohn Contemporary, New Canaan, CT. New Gallery: Group Show

2015 — Chandra Cerrito Contemporary, New York NY. Satellite

2015 — Chandra Cerrito Contemporary, Oakland CA. Backroom

2015 — Littlejohn Contemporary, New York NY. Melinda Stickney-Gibson, Sarah Hinckley, Timothy Hawkesworth and Susan English 

2015 — Cape Cod Museum of Art, Dennis MA. Formal Aspects: Visual Dialogue in Structure — Erica Adams, Emily Berger, Joanne Freeman, Sarah Hinckley, Joanne Mattera and Mira Schor 

2014 — Leedy-Voulkos Art Center, Kansas City MO. Opie Gallery: Structure, Story & Flow

2014 — Vito Schnabel & The Bruce High Quality Foundation, New York NY. The Last Brucennial

2014 — Littlejohn Contemporary, New York NY. Gallery A: Annette Davidek, Sarah Hinckley, Melinda Stickney-Gibson, Brenda Hope Zappitell

2013 — DM Contemporary, New York NY. The Summer Show

2012 — Emily Amy Gallery, Atlanta GA. Spring Salon

2011 — Leslie Heller Projects, New York NY. Holiday Salon

2011 — Tria Gallery, New York NY. Natural Beauty (2-person exhibit)

2010 — Jazz at Lincoln Center, New York NY. Unlocking Creativity, Columbia Alumni Arts League

2009 — Emily Amy Gallery, Atlanta GA. Winter Salon

2009 — Sears Peyton Gallery, New York NY. Open Your Arms to the Sun

2009 — Emily Amy Gallery, Atlanta GA. It's the Little Things

2008 — Jancar Gallery, Los Angeles CA. Cool and Austere (7 Artists)

2008 — Emily Amy Gallery, Atlanta GA. Abstraction: An Exploration of Abstract Art

2008 — Deborah Berke, New York NY.

2008 — One Night Only, 3875-1204 Gallery, Los Angeles CA. Curated by Mery Lynn McCorkle & Tom Jancar

2007 — Steven Harris/Rees Roberts, New York NY.

2007 — Oliver Art Center, Oakland CA. California College of Art

2007 — 50 Bond Street, Showroom, New York NY.

2006 — Steven Harris/Rees Roberts, New York NY. Summer Selections

2003-04 — American Embassy, San Jose, Costa Rica. Art in Embassies program

2002 — Sears Peyton Gallery, New York NY. Easy Breezy

2002 — Pfizer, New York NY. Curated by Lisa Hatchadoorian

2002 — Robert Green Fine Art, Mill Valley CA. Summer

2002 — Sears Peyton Gallery, New York NY. Playground, curated by Lisa Hatchadoorian

2002 — New Jersey Center for Visual Arts, Summit NJ. International, juror William Zimmer, art critic

2001 — Aidekman Arts Center, Tufts University, Medford MA. Alumni

2001 — Armory Art Center, West Palm Beach FL. October International, juror Peter Frank

2001 — Silvernine Guild Arts Center, New Canaan CT. Art of the Northeast, juror Bill Arning, Center, MA

2001 — Schoharie County Arts Council, Cobleskill NY. National Small Works, juror David Beitzel

2001 — Palm Springs Desert Museum, Palm Springs CA. Juror Anne Philbin 

2000 — General Electric Corporate Headquarters, Fairfield CT. 4 Women Painters

1999 — A.I.R. Gallery, New York NY.

1999 — Wayne Art Center, Wayne PA.

1998 — Deborah Berke, New York NY. 4 Painters

1998 — The Berkshire Museum, Pittsfield MA. Juror Laura Hoptmann

1996 — Deborah Berke, New York NY.

1991 — New York University, New York NY. Small Works, juror Peter Seltz

1990 — Wallach Gallery, Columbia University, New York NY. Selected M.F.A.

1990 — Vargoss Gallery, Hunter College, New York NY. New York City Selected M.F.A.

1990 — Columbia University, Prentis Hall, New York NY.

1989 — Columbia University, Low Library, New York NY. Summer Selections

1989 — Columbia University, Prentis Hall, New York NY.

1989 — Grossman Gallery, SMFA, Boston MA.

1988 — David Williams Gallery, Provincetown MA.

1988 — Grossman Gallery, SMFA, Boston MA.

1986 — Mills Gallery, Boston MA.


Art Fairs & Benefits

2022 — Brooklyn Heights Designer 2022 Showhouse, Brooklyn, NY.

2020 — Bortolami, New York NY. Visual Aid, Postcards from the Edge Benefit

2019 — INK Miami Art Fair, Miami FL. Pele Prints

2019 — Bortolami, New York NY. Visual Aid, Postcards from the Edge Benefit

2018 — INK Miami Art Fair, Miami FL. Pele Prints

2018 — Texas Contemporary, Houston TX. Pele Prints

2018 — Aqua Art Fair, Miami FL. Pele Prints

2017 — Art on Paper, New York NY. Littlejohn Contemporary

2016 — Aqua Art Fair, Miami FL. Pele Prints

2016 — Cape Cod Museum of Art, Dennis MA.

2015 — Aqua Art Fair, Miami FL. Pele Prints

2015 — Greene Naftali, New York NY. Cape Cod Modern House Trust

2015 — Cape Cod Museum of Art, Dennis MA.

2014 — Aqua Art Fair, Miami FL. Pele Prints

2014 — Select Art Fair, New York NY. Pele Prints

2013 — Aqua Art Fair, Miami FL. Pele Prints

2012 — Cheim and Reid, New York NY. Visual Aid, Postcards from the Edge Benefit

2012 — Aqua Art Fair, Miami FL. Pele Prints

2011 — Baryshnikov Arts Center, New York NY. DiMenna Center for Classical Music, OHNY

2011 — CRG, New York NY. Visual Aid, Postcards from the Edge Benefit 

2010 — Exit Art, New York NY. Fracking, a Benefit Show

2010 — Haunch of Venison, New York NY. HiArt Benefit Gala

2010 — Art Hamptons, Bridgehampton NY. Tria Gallery 

2010 — Exit Art, New York NY. What Matters Most? Eco Art Space Benefit

2010 — ZieherSmith Gallery, New York NY. Visual Aid, Postcards from the Edge Benefit

2009 — Dharma Zen Center, Los Angeles CA. Benefit

2009 — Metro Pictures, New York NY. Visual Aid, Postcards from the Edge Benefit

2007 — James Cohan Gallery, New York NY. Visual Aid, Postcards from the Edge Benefit

2007 — Design Trust Benefit, New York NY. Milk Gallery

2007 — Visual Aid Sixth Annual Spring Auction & Benefit, San Francisco CA

2007 — Red Dot Art Fair, New York NY. Sears Peyton Gallery

2006 — ANERA, Silent Auction, Washington DC.

2006 — Affordable Art Fair, New York NY. Dolby Chadwick Gallery

2005 — San Francisco Art Fair, San Francisco CA. Dolby Chadwick Gallery

2005 — Affordable Art Fair, New York NY. Dolby Chadwick Gallery

2005 — Art LA, Los Angles CA. Dolby Chadwick Gallery

2004 — Affordable Art Fair, New York NY. Dolby Chadwick Gallery

2004 — Art LA, Los Angles CA. Dolby Chadwick Gallery

2004 — San Francisco Art Fair, San Francisco CA. Dolby Chadwick Gallery

2003 — Affordable Art Fair, New York NY. Sears Peyton Gallery


Publications

• New England Home Magazine, July-August 2022. "Meet Artist Sarah Hinckley."

• dArt International Magazine, May 2021. "Small Standing Tall" an exhibition review by Dominique Nahas.

• Vasari21 Magazine, March 2021. "Real Abstraction: Five Painters Beyond the Picture" an exhibition review by Peter Frank.

• Jacksonville Magazine, Home Design Quarterly, June 2021. "Pretty in Pink."

• The Connecticut Design Guide 2021 from Connecticut Cottages & Gardens Magazine. "Shopping in Style."

• Better Homes and Gardens, January 2018. "Edson Hill, Stowe VT."

• Art, LTD, Sept/Oct 2016. "Excerpts from the Natural World, Chandra Cerrito Contemporary” by Leora Lutz.

• VOS Visual Art Source, July 2016. "Excerpts from the Natural World" by DeWitt Cheng.

• The Sunday Republican, May 2016. "Making her Mark" by Tracey O'Shaughnessy.

• The Country and Abroad, April/May 2016. "New Mattatuck Museum Exhibition 'Making her Mark' explores the presence and influence of women artists."

• Artscope Web Zine, March 2015. "Formal Aspects at the Cape Cod Museum of Art" by Phiannon Lee.

• Design, The ASID New York Metro Magazine, Fall/Winter 2014.

• Elliman Magazine, Fall/Winter 2014. "Brooklyn Navy Yard."

• St. Louis at Home, Fall 2014. "Made in St. Louis."

• Milieu, Spring 2014. "Fresh and Unafraid: Pretty in Pink."

• Artcritical, December 6, 2013. "When Hostility Turns Into Mannerism, Subtle Simplicity Offers Respite" by Franklin Einspruch.

• Barnstable Patriot, July 26, 2013. "Stillness of Remembering" by Mary Richmond.

• Cape Cod Art Magazine, Summer 2013. "Sarah Hinckley" by Amanda Wastrom.

• New England Home Magazine, Spring 2012. "Picture Perfect."

• The Litchfield County Times, September 23, 2011. "Pop-up Art in Washington" by Jack Coraggiom.

• Interior New York, July/August 2011. "Brooklyn's Best Kept Secrets."

• Coastal Living, May 2009. "Surfer Chick."

• House Beautiful, April 2009. "Cozy is Quirky."

• Architectural Digest, July 2007. "A Southern Spell."

• Taos News, June 7 - 13, 2007. "Beauty Within" by Virginia L. Clark, Two Graces Gallery.

• Shotgun Review, 2007. "Juried Annuals in the East Bay at ProArts" by SR Kucharski.

• Southern Accents, July/August 2005. "Watersound Showhouse" page 106.

• Details, August 2003. "In the Works" page 92-93.

• The New York Times, Friday, June 16 & 23, 2002. Critics Choice, New and Noteworthy "Playground" Sears Peyton Gallery.

• The New York Times Magazine, September 30, 2001. "Handyman's Special."

• Home Magazine, November 2001. "White Light."

• O The Oprah Magazine, February 2001. "Comfort Zone: Take This Job...and Redecorate it."

• The South Advocate, 1998. "Beauty Returns to Contemporary Art" by Mary Bell.

• Interior Design, September 1997. "Forum in the Community."

• Interior Design, October 1996. "House Double-Steven Harris."

• The Columbia Spectator, 1990. "Make it New Art" by Tamara Cochran.


Selected Collections

Acadian Asset Management, Boston, MA
Alliance Bernstein LP, New York, NY
Alliance Capital Management Corporation, New York, NY
Analysis Group, Boston, MA
Analysis Group, New York, NY
Barclays Global Investors, San Francisco, CA
Bellagio, Las Vegas, NV
565 Broome Street, New York, NY
Calfox, Inc., San Francisco, CA
Cambridge Associates, Boston, MA
Capital G, Hamilton, Bermuda
Charles Schwab, New York, NY
DLA Piper Rudnick Gray, San Francisco, CA
The Durst Organization, New York, NY
Edson Hill, Stowe, VT
Encantado Resort, Santa Fe, NM
The Federal Reserve Bank, Boston, MA
Gallery Koyanagi, Tokyo, Japan
Gauthier-Stacy Inc, Boston, MA
Genentech, Inc., San Francisco, CA
General Electric Corporate Headquarters, Fairfield, CT
Goodwin Proctor, Boston, MA
Graciela Hotel, Burbank, CA
Gray Cary Ware & Freidenrich LLP, San Francisco, CA
Guaymas Restaurant, Rancho Mirage, CA
Hard Rock Cafe, Miami, FL
Hotel Bel-Air, Los Angeles, CA
Hunton Andrews Kurth LLP, Boston, MA
Hyatt Regency, Atlanta, GA
IXIS Asset Management, Boston, MA
Kirkland & Ellis LLP, Boston, MA
KPMG, San Francisco, CA
KTR Capital Partners, New York, NY
Liberty Mutual, Boston, MA
Manatt, Phelps & Phillips, San Francisco, CA
Memorial Sloan Kettering, New York, NY
Montefiore Medical Center, New York, NY
Morgan Stanley, New York, NY
Mutual Holdings, Boston, MA
Nautic Partners, Providence, RI
New York Presbyterian Hospital, New York, NY
NYU Langone Medical Center, New York, NY
Norwegian Cruise Line Holdings Ltd., FL
Palamar Hotel, San Diego, CA
Strategic Property Partners, Tampa, FL
The Palazzo Resort, Las Vegas, NV
Pfizer, New York, NY
Ritz Carlton, Atlanta, GA
Ritz Carlton Rancho Mirage, Rancho Mirage, CA
Scios Inc, Fremont, CA
Spear Street Capital, San Francisco, CA
U.S. Department of State, Washington, DC
Venetian Resort, Macau, China
VeriSign, Inc., San Francisco, CA
Weill Cornell Medical, New York, NY
Wiley Publishing, Hoboken, NJ
Wilmer Cutler Pickering Hale and Dorr, Boston, MA
Winston & Strawn, LLP, Chicago, IL
Winston & Strawn, LLP, San Francisco, CA