Btw MOMA

02/18/2026

The second and third floor galleries of btwMOMA showcase individual works from the Scouts collective. In addition to their collaborative and participatory art practices each Scout maintains their own artistic practice.

The illuminated work in the forth floor is a joyful depiction of the Scout members including their dog.

02/11/2026

Scouts
~very serious about not being serious~

In the museums 3rd floor gallery we are featuring the Scout’s project 30 Day Picnic.

For a month the Scouts hosted daily picnics for one or two guests at a time as a means of connecting artists and building community. The generous gesture of sharing a meal generated intimate conversations that casually centered art and idea.

About the Scouts:
Art Scouts Collective creates socially-engaged work through playful, participatory projects–often centered around food–offering hospitality as an artistic expression for building community and reimaging how art can exist in everyday life. Inspired by the Fluxus movement, projects such as the Cookie Exchange, Fluxus Dinner Series, and 30-Day Picnic create accessible experiences where artists and various communities can gather, collaborate, and build meaningful relationships. The collective’s current members are Jessica Joner, Bryce Frimming, Ansley Gwin, and Laura Swingen. While each artist maintains an individual practice, they unite through a shared love of collaborative artwork and projects as a means of cultivating creativity and community

02/05/2026

In our upcoming show with the Scouts we are highlighting their project Breakfast in Bed in the first floor gallery.
In 2025 the Scouts, with permission from the participants, slipped in the bedrooms in the early morning to wake up a friend of the collective with breakfast in bed. This type sweet, intimate, generous gesture is a hallmark of the Scouts practice. Human connections threads through out their work.

From the Scouts:
Scouts at btwMOMA introduces the collective through both our shared, playful projects and our individual practices, highlighting past socially engaged works such as 30 Day Picnic and a full-floor installation of our current project, Breakfast in Bed. Art Scouts are very serious about not being serious.

01/30/2026

01/25/2026

Coming soon to btwMOMA:

Scouts
~very serious about not being serious~

Art Scouts Collective creates socially-engaged work through playful, participatory projects–often centered around food–offering hospitality as an artistic expression for building community and reimaging how art can exist in everyday life. Inspired by the Fluxus movement, projects such as the Cookie Exchange, Fluxus Dinner Series, and 30-Day Picnic create accessible experiences where artists and various communities can gather, collaborate, and build meaningful relationships. The collective’s current members are Jessica Joner, Bryce Frimming, Ansley Gwin, and Laura Swingen. While each artist maintains an individual practice, they unite through a shared love of collaborative artwork and projects as a means of cultivating creativity and community.

01/25/2026

12/21/2025

Veronica De Jesus’s work ties the exhibition together through its playfulness, intimacy, and resourcefulness. Using birch bark and ballpoint pen, she transforms humble materials into poetic expressions. The irregular surface of the bark emphasizes the handmade quality of her work, echoing the tactile nature of Madarang’s prints while also calling back to the plant life suggested in Spaulding’s imagery.

12/21/2025

Claire Francis Spaulding’s large Risograph print covers the north wall. Its soothing color palette moves from blue-green to yellow-green, dotted with pale yellow flowers. The hazy softness of the plant imagery gently softens the gallery space. True to btwMOMA’s interest in scale and perception, the size of the plants remains ambiguous. The flowers could be large and overgrown, pressing too close to a building, or they could be small, resilient plants pushing up through a crack in the sidewalk. This uncertainty invites us to reconsider our surroundings. In the outside world, we are much larger than plants, but here we are made small beside them.

12/21/2025

Amelia Madarang’s relief print—Fork, Spoon, Knife— is rendered with a rough, handmade style; these simple kitchen tools immediately suggest a place where eating, gathering, and hosting occur. With just these three objects, Madarang evokes the quiet labor and care embedded in social spaces. These are the tools for creating shared meals.

11/23/2024

by the way Museum of Mini Art (btwMOMA) is pleased to present Exterior

Exterior is a late summer backyard. Indonesia Fulcher’s bright green sculpture represents a two-seat lawn chair. A place to watch the neighborhood and talk about other people’s business: the sculpture is carved from a flat piece of foam padding. It is only a few inches wide, but the silhouette is cut so masterfully that from across the gallery, it appears three-dimensional. The sagging form is soft and comfortable. It has none of the hard metal framing that keeps patio chairs rigid. Fulcher’s works are salty and sweet. The etching of a doorway leads us into the home. The screen is closed, but the door is open. The paper is delicately rounded at the edges, hugging the image. The etching, compared to the large foam chair, creates the illusion of distance. The furniture is in the foreground, and the door is far back. It is getting dark and it’s a long way to run across the lawn to get to the door

11/23/2024

by the way Museum of Mini Art (btwMOMA) is pleased to present
Exterior: the work of Indonesia Fulcher and a postcard from D.E. May

The image of Tualatin Valley and Mt. Zion published by the Portland Post Card Co. was sent by the late artist D.E. May. May had a great appreciation for weathered non-archival materials and things that involve human touch. The postcard was sent with other vintage postcards and encouraged to send the cards rather than electronic messages. That gesture shows the artist’s generosity and kindness. Stamps from Czechoslovakia and Poland obscure the postcard’s original message from Georgia to her mother. May’s words fit into the remaining space in small block text. The message says:

“I have enclosed a small correspondence packet for you to send to family and friends in lieu of E-mails and texts. The Cards are all equipped with uncanceled stamps, so they are ready for the mail slot or the postman’s bag.
Thank you again

D.E. May

Islandsalem”

11/23/2024

by the way Museum of Mini Art (btwMOMA) is pleased to present
Exterior: the work of Indonesia Fulcher and a postcard from D.E. May

Exterior is a late summer backyard. Indonesia Fulcher’s bright green sculpture represents a two-seat lawn chair. A place to watch the neighborhood and talk about other people’s business: the sculpture is carved from a flat piece of foam padding. It is only a few inches wide, but the silhouette is cut so masterfully that from across the gallery, it appears three-dimensional. The sagging form is soft and comfortable. It has none of the hard metal framing that keeps patio chairs rigid. Fulcher’s works are salty and sweet. The etching of a doorway leads us into the home. The screen is closed, but the door is open. The paper is delicately rounded at the edges, hugging the image. The etching, compared to the large foam chair, creates the illusion of distance. The furniture is in the foreground, and the door is far back. It is getting dark and it’s a long way to run across the lawn to get to the door inside.

The postcard opposite Fulcher’s work shows the Tualatin Valley and Mt. Zion. It was published by the Portland Post Card Co. and sent by the late artist D.E. May. May had a great appreciation for weathered non-archival materials and things that involve human touch. The postcard was sent to btw MOMA’s Director in 2018. It came with other vintage postcards, stamps, and encouragement to send physical cards rather than electronic messages. That gesture illustrates May’s generosity and kindness. Two stamps from Czechoslovakia and Poland obscure the postcard’s original message from Georgia to her mother. May’s words fit into the remaining space in small block text:


“I have enclosed a small correspondence packet for you to send to family and friends in lieu of E-mails and texts.
The Cards are all equipped with uncanceled stamps, so they are ready for the mail slot or the postman’s bag.
Thank you again.

D.E. May
Islandsalem”