CHRONOLOGY
1908
Helen Lundeberg is born in Chicago on June 24 to second-generation Swedish-American parents.
1911
Her younger sister, Inez Selma, is born.
1912
The family moves to Pasadena, California, where her father begins working for a real estate and brokerage firm.
1914–1921
Attends Longfellow Grammar School after learning to read at home.
1921
Graduates from grammar school; enters Pasadena High School.
Participates in the Study of Gifted Children, conducted by Stanford University to survey the characteristics and development of children who rank in the top 1 percent in California schools. Follow-up continues through 1945.
1925
Finishes high school in June; remains at home until the fall of 1927 to help her mother, who is ill. Reads extensively during this time, including novels, poetry, and travel books. Goes to Sunday school and church, primarily for the music and the peaceful ambience.
1927
Begins courses at Pasadena Junior College. Spends an extra semester catching up on algebra and geometry, not taken in high school. Enjoys both.
1930
Graduates from junior college.
In spring, after a family friend offers to pay for three months of classes at the Stickney Memorial School of Fine Arts in Pasadena, she studies with Lawrence Murphy, who teaches George B. Bridgman–style figure construction and composition classes.
In summer, Lorser Feitelson takes over from Murphy; his classes include discussion and graphic analyses of the structural principles of early and late Renaissance masters, as well as modernists. She learns to distinguish art from illustration.
1931
In June, encouraged by Feitelson, she submits and exhibits her first figure painting, Apple Harvesters, in the Sixth Annual Exhibition of Southern California Art at the Fine Arts Gallery of San Diego.
1932
Exhibits in the Thirteenth Annual Painting and Sculpture Exhibition at the Los Angeles County Museum of History, Science and Art.
Wins an honorable mention at the Los Angeles County Fair.
1933
The Mountain is selected for the Fourteenth Annual Exhibition of Painting and Sculpture at the Los Angeles County Museum of History, Science and Art.
In June, participates in her first one-person exhibition, held at the Stanley Rose Gallery on Vine Street in Hollywood.
In September, has a one-person exhibition at the Assistance League.
Exhibits in the Progressive Painters of Southern California show at the California Palace of the Legion of Honor in San Francisco.
In December, exhibits Self-Portrait in the Progressive Painters of Southern California show at the Fine Arts Gallery of San Diego.
Executes easel paintings for the federal Public Works of Art Project (PWAP). Moves to Los Angeles, where the PWAP offices are located. Becomes involved in the formulation of Feitelson’s theory of New Classicism (or Subjective Classicism), later known as Post-Surrealism.
1934
In June, exhibits her first Post-Surrealist painting, Persephone, at the Fine Arts Gallery of San Diego in the Eighth Annual Southern California Exhibition of Painting and Sculpture.
In November, with Feitelson, participates in the first group showing of Post-Surrealist work, held at the Centaur Gallery in Hollywood.
Exhibits in the show Painting by California Modernists, sponsored by the Foundation of Western Art in Los Angeles.
Authors and publishes her first theoretical manifesto, entitled New Classicism. A loose association of artists forms, including Lucien Labaudt and Knud Merrild. Grace Clements, Philip Guston, Reuben Kadish, and others exhibit in later shows.
1935
In May, exhibits Double Portrait of the Artist in Time, an important early work, in the Post-Surrealists and Other Moderns show at the Stanley Rose Gallery, now on Hollywood Boulevard. Although she has been painting for only five years, this painting will rank as one of her outstanding achievements.
Participates in a group exhibition of Post-Surrealists at the Hollywood Gallery of Modern Art on Hollywood Boulevard.
The Post-Surrealists mount an exhibition at the San Francisco Museum of Art; it travels to the Brooklyn Museum the following spring, under the title “Post-Surrealism,” marking their first East Coast presentation.
1936
Because of the East Coast exposure, Lundeberg, Feitelson, and Merrild are invited to be part of the exhibition Fantastic Art, Dada, Surrealism, which opens at the Museum of Modern Art in New York in December. Lundeberg is represented by Cosmicide (1935).
Completes two murals for the Los Angeles County Hall of Records for the Federal Art Project, a division of the Works Progress Administration.
1937
Works as an assistant on Feitelson’s murals for Thomas A. Edison Junior High School in central Los Angeles. Also makes four lithographs for the Federal Art Project.
1938–1942
Designs murals for the Federal Art Project, including an oil vignette on acoustic plaster and petrachrome. Her murals still exist at the Venice High School library, George Washington High School, Canoga Park High School, the Fullerton Police Station, and Grevillea Art Park.
1938
Exhibits in the group show Postsurrealism at Stendahl Galleries in Los Angeles.
1939
Executes History of Transportation mural for the city of Inglewood, California.
1942
Exhibits in Americans 1942: 18 Artists from 9 States, held at the Museum of Modern Art in New York, with a group of Post-Surrealist paintings.
Begins to paint “postcard-size” paintings, among them the Abandoned Easel series, as a reaction to the scale and impersonality of work executed on mural projects. From this time on until 1958, she continues to paint landscapes, interiors, and still-lifes, drawing from memory, imagination, and observation, rather than from reality.
1944
Exhibits in the Fifth Annual Exhibition of Painting and Sculpture by Artists of Los Angeles and Vicinity, held at the Los Angeles County Museum of History, Science and Art.
1947
Exhibits in the Abstract and Surrealist American Art show at the Art Institute of Chicago.
1949
Exhibits in A Selected Group of Paintings by Lorser Feitelson and Helen Lundeberg, held at the Art Center School Galleries in Los Angeles.
Awarded first purchase prize for The Clouds in the Ninth Invitational Purchase Prize Art Exhibition, sponsored by the Chaffey Community Art Association in Southern California’s Inland Empire.
1950
Receives $1,000 First Purchase Award for Spring in the Sixth Annual Exhibition by Artists of Los Angeles and Vicinity, sponsored by the Municipal Art Commission, the Recreation and Park Commission, and the Council of the City of Los Angeles; the exhibition is shown at the Greek Theatre.
Participates in the Exhibition of Contemporary American Painting, held at the College of Fine and Applied Arts of the University of Illinois, Urbana.
Paints Untitled (A Quiet Place), which presages such later paintings as The Road (1958), in which unmodulated geometric areas suggest three-dimensional space and perspective.
1950–1958
Increasingly uses flat geometric areas and cast shadows to create spatial environment. Objects such as shells and fruits are depicted three-dimensionally.
1952
Exhibits The Wind That Blew the Sky Away in the Pittsburgh International Exhibition of Contemporary Painting, held at the Carnegie Institute.
Exhibits at the Felix Landau Gallery in Los Angeles.
The Functionists West group exhibits for the first time at the Los Angeles Art Association Galleries, featuring originators Feitelson, Lundeberg, Stephen Longstreet, and Elise Cavanna.
1953
Featured in a one-person retrospective at the Pasadena Art Institute.
Exhibits in Fourteen Artists West of the Mississippi at the Colorado Springs Fine Arts Center.
1954
Exhibits in Functionists West at the Los Angeles Art Association Galleries.
1955
Exhibits in the III Bienal de São Paulo, held at the Museu de Arte Moderna de São Paulo, Brazil, then shown at the Cincinnati Art Museum, the Colorado Springs Fine Arts Center, and the Walker Art Center in Minneapolis.
1956
Marries Lorser Feitelson on October 22.
1957
Awarded $400 prize for Selma in the Annual Exhibition of Artists of Los Angeles and Vicinity, held at the Los Angeles County Museum of History, Science and Art.
Exhibits in the Contemporary American Painting and Sculpture show, held at the College of Fine and Applied Arts at the University of Illinois, Urbana.
1958
Exhibits in joint retrospective with Feitelson at Scripps College in Claremont, California.
Exhibits in the Sixty-Eighth Annual Exhibition at the University of Nebraska Art Galleries in Lincoln.
1959
Begins a series of paintings composed entirely of flat geometric areas, suggesting landscapes, interiors, and streets, as well as the effects of perspective, light, and shadow. Refers to three-dimensional reality, yet with ambiguity.
Featured in solo exhibitions at the Paul Rivas Gallery in Los Angeles and the Santa Barbara Museum of Art in Santa Barbara, California.
1960
Featured in solo exhibition at the Paul Rivas Gallery.
Exhibits in three group shows: Paintings from the Pacific: Japan, America, Australia, New Zealand, held at Auckland City Art Gallery; The Artist’s Environment: West Coast, held at the Amon Carter Museum of Western Art in Fort Worth, Texas, the UCLA Art Galleries, and Oakland Art Museum; and 30 Friends, held at the Los Angeles Art Association Galleries.
1962
Participates in Geometric Abstraction in America at the Whitney Museum of American Art in New York, an important East Coast exhibition that reaffirms her national recognition.
Exhibits in Fifty California Artists at the Whitney Museum of American Art, organized by the San Francisco Museum of Art with the assistance of the Los Angeles County Museum of Art. The show travels to the Walker Art Center in Minneapolis, the Albright-Knox Art Gallery in Buffalo, New York, and the Des Moines Art Center in Des Moines, Iowa.
Paints the first work in her Arches series; introduces curved shapes.
Uses the white of primed canvas as a form.
1963
Completes Triptych, one of her most important paintings of this period; it reflects a shift in her palette from restrained tones to stronger contrasts of color and value, with ribbons of color across the entire width of three sections. Feitelson is encouraged to begin his Line Paintings by her technical innovation of using masking tape to “draw” and paint lines.
Featured in solo exhibitions at Ankrum Gallery in Los Angeles and at the Long Beach Museum of Art.
1964
Continues work on the arch motif, exemplified by Desert Light. Uses black or white canvas to “frame” the view of an abstract landscape, as in Desert View.
Exhibits in the California Hard-Edge Painting show at the Pavilion Gallery in Balboa, California, marking the first official inclusion of her work in the Hard Edge movement.
1965
Switches to acrylics with Planet #1 after thirty-five years of working with oils.
Continues with her Planet series, returning to the Post-Surrealist subject matter of the planets and the cosmos, which fascinated her as a student.
Uses circles within black or colored squares, which permits a great variety of patterns suggesting, without modeling, a sphere in space.
Exhibits at Occidental College in Los Angeles with George Baker.
Exhibits in three group shows: the Annual Exhibition of Contemporary American Painting, held at the Whitney Museum of American Art in New York; The San Francisco Collector, held at the M. H. de Young Memorial Museum in San Francisco; and the Twelfth Exhibition of Contemporary American Painting and Sculpture, held at the Krannert Art Museum, part of the College of Fine and Applied Arts of the University of Illinois, Urbana-Champaign.
1966
Exhibits in two shows at the Lytton Center of the Visual Arts in Los Angeles: Contemporary California Art from The Lytton Collection and The Search: Ten Leading California Artists in Pursuit of a Personal Vision.
1967
Featured in solo shows at the David Stuart Galleries in Los Angeles from 1967 to 1971.
Exhibits in Selected Artists—’67 at the Des Moines Art Center in Des Moines, Iowa.
1968
Exhibits in three group shows: West Coast ’68 Painters and Sculptors, held at the E. B. Crocker Art Gallery in Sacramento; The California Landscape, held at the Lytton Center of the Visual Arts in Los Angeles; and 25 California Women of Art, also held at the Lytton Center.
1970
Exhibits in Color in Control, a show at the Museum of Fine Arts in St. Petersburg, Florida, and the Loch Haven Art Center in Orlando, Florida.
1971
Featured in a retrospective exhibition of work from 1933 to 1971 at the La Jolla Museum of Contemporary Art in La Jolla, California. Described as “classicist” because of her continual emphasis on aesthetic structure. The exhibition traces her development from early works based on a Renaissance organizational plan, through Post-Surrealist attitudes, to Hard Edge forms.
1972
Exhibits in Lundeberg, Feitelson, First Showing: A Series of New Color Prints, held at the Los Angeles Art Association Galleries.
1973–1976
Works on a second series of small pictures.
1974
Participates in Nine Senior Southern California Painters, the inaugural exhibition of the Los Angeles Institute of Contemporary Art. This exhibition is mounted as a tribute to artists integral to the historical development of modernism in Southern California.
1976
Featured in Helen Lundeberg: Recent Small Paintings, held at the David Stuart Galleries.
Exhibits in three group shows: American Artists ’76: A Celebration, held at the Marion Koogler McNay Art Institute in San Antonio, Texas; New Deal Art: California, held at the de Saisset Museum at Santa Clara University in Santa Clara, California; and Painting and Sculpture in California: The Modern Era, held at the San Francisco Museum of Modern Art and the National Collection of Fine Arts at the Smithsonian Institution in Washington, D.C.
1977
Exhibits at the David Stuart Galleries.
Exhibits in three group shows: Still and Not So Still Lifes, held at the Los Angeles Municipal Art Gallery; Surrealism and American Art: 1931–1947, held at the Rutgers University Art Gallery in New Brunswick, New Jersey; and Women in Surrealism, held at The Image and The Myth Gallery in Beverly Hills, California.
1978
Lorser Feitelson dies of heart failure on May 24.
The Smithsonian American Art Museum acquires Double Portrait of the Artist in Time.
1979
Concentrates on a series of monochromatic land- and seascapes, such as Blue Calm.
In August, returns to “interiors” and “painting-within-painting” themes with closely related greyed color, such as Grey Interior I and Grey Interior II.
A retrospective exhibition of work from 1933 to 1978, held at the Los Angeles Municipal Art Gallery, emphasizes Lundeberg’s focus on the dimensions of space in early Post-Surrealist paintings as well as more abstract paintings of the 1960s and 1970s.
Exhibits in the First Western States Biennial Exhibition, shown at the Denver Art Museum; the National Collection of Fine Arts at the Smithsonian Institution in Washington, D.C.; the San Francisco Museum of Modern Art; and the Seattle Art Museum.
1980
Exhibits in Helen Lundeberg: Selected Works, a show at North Point Gallery in San Francisco.
1980–1981
Featured in Lorser Feitelson and Helen Lundeberg: A Retrospective Exhibition, held at the San Francisco Museum of Modern Art; the show travels to the Frederick S. Wight Art Gallery at UCLA.
1981
Honored with an Award for Outstanding Achievement in the Visual Arts by the College Arts Association and the Women’s Caucus for Art in San Francisco.
Featured in Helen Lundeberg: Painting, Prints, Drawings, a show at the Tobey C. Moss Gallery in Los Angeles.
Exhibits in four group shows: Art from the Vice President’s House, held at the National Museum of American Art in Washington, D.C.; Los Angeles Prints, 1883–1980, held at the Los Angeles County Museum of Art; Painting and Sculpture in Los Angeles, 1900–1945, also held at the Los Angeles County Museum of Art; and Women of Art: Women’s Caucus for Art Honors Exhibition, held at North Point Gallery in San Francisco.
1982
The Graham Gallery in New York mounts the exhibition Helen Lundeberg: Paintings through Five Decades.
Helen Lundeberg: Works on Paper is shown at the Tobey C. Moss Gallery.
Exhibits in three group shows: The West as Art: Changing Perceptions of Western Art in California Collections, held at the Palm Springs Desert Museum in Palm Springs, California; Drawings and Illustrations by Southern California Artists before 1950, held at the Laguna Beach Museum of Art in Laguna Beach, California; and Realism and Realities: The Other Side of American Painting, 1940–1960, held at the Rutgers University Art Gallery in New Brunswick, New Jersey.
1983
The Palm Springs Desert Museum mounts a solo exhibition of recent paintings, entitled Helen Lundeberg Since 1970.
Exhibits in Helen Lundeberg: Paintings, held at the Tobey C. Moss Gallery and the University Art Museum in Santa Barbara, California.
Exhibits in the group show Ceci n’est pas le surrealisme: California: Idioms of Surrealism, held at the Fisher Gallery at the University of Southern California in Los Angeles.
1985
The Tobey C. Moss Gallery features her work in two shows: Helen Lundeberg: Still Life and Helen Lundeberg: Recent Works, the latter with June Harwood.
Exhibits in the group show The Muse as Artist: Women in the Surrealist Movement, held at the Jeffrey Hoffeld and Co. Gallery in New York.
1986
Exhibits in four group shows: California 1920–1945, held at the Tobey C. Moss Gallery; Kindred Spirits, held at the Los Angeles Municipal Art Gallery; Aspects of California Modernism 1920–1950, held at the Federal Reserve System in Washington, D.C.; and Elders of the Tribe, held at the Bernice Steinbaum Gallery in New York.
1987
The Fullerton Police Station mural History of Southern California is restored.
The Tobey C. Moss Gallery produces the documentary Helen Lundeberg: American Painter.
Featured in Helen Lundeberg: By Land and by Sea, a show at the Tobey C. Moss Gallery.
Featured in California Contemporary Artist: Helen Lundeberg, a show at Laguna Art Museum in Laguna Beach, California.
Receives a Vesta Award from the Woman’s Building, a nonprofit arts and education center in Los Angeles.
1987–1988
Featured in Martha Alf, Helen Lundeberg: Two Views: 1970–1987, held at the Palos Verdes Art Center in Rancho Palos Verdes, California.
Exhibits in two group shows: The Artists of California, shown at the Oakland Museum; the Crocker Art Museum in Sacramento, and the Laguna Art Museum in Laguna Beach, California; and The Artist’s Mother: Portraits and Homages, shown at the National Portrait Gallery in Washington, D.C., and the Heckscher Museum of Art in Huntington, New York.
1988
Celebrating her eightieth birthday, the Los Angeles County Museum of Art hosts the exhibition A Birthday Salute to Helen Lundeberg.
Helen Lundeberg/A Retrospective View is shown at the Mary Porter Sesnon Art Gallery at the University of California, Santa Cruz.
Exhibits in Women Artists of the New Deal Era: A Selection of Prints and Drawings, held at the National Museum of Women in the Arts in Washington, D.C.
Receives the Palm Springs Desert Museum’s Woman of the Year Award.
Her mural History of Transportation raises preservation and conservation interest.
1989
Helen Lundeberg: An American Visionary is exhibited at the Fresno Art Museum in Fresno, California.
Helen Lundeberg, Paintings 1960–1963 is shown at the Tobey C. Moss Gallery.
Exhibits in two group shows: Art in The Public Eye: Selected Developments, held at the Security Pacific Gallery in the South Coast Metro Center in Costa Mesa, California; and Lorser Feitelson: Artist/Teacher, held at the Fine Arts Gallery at Long Beach City College.
1990
Receives an honorary doctorate degree from the Otis Art Institute of Parsons School of Design.
Receives a grant from the Richard A. Florsheim Art Fund for American Artists of Merit.
Exhibits in two group shows: Functionists High, shown at the American Gallery in Los Angeles; and Heroes, Heroines, Idols & Icons, shown at the Muckenthaler Cultural Center in Fullerton, California.
1990–1992
Exhibits in Turning The Tide: Early Los Angeles Modernists 1920–1956, which travels to the Santa Barbara Museum of Art in Santa Barbara, California; the Laguna Art Museum in Laguna Beach, California; the Oakland Museum; the Marion Koogler McNay Art Institute in San Antonio, Texas; the Nora Eccles Harrison Museum of Art at Utah State University in Logan, Utah; and the Palm Springs Desert Museum in Palm Springs, California.
1991
Exhibits in Greater Years, Greater Visions, shown at the Irvine Fine Arts Center in Irvine, California.
1992
Helen Lundeberg: The Sunset Years: 1980–1990 is exhibited at the Tobey C. Moss Gallery.
Exhibits in a group show, Choice Encounters, held at the Long Beach Museum of Art.
1992–1993
Exhibits in California Painting: The Essential Modernist Framework, which travels to the University Art Gallery at California State University, San Bernardino, and the Fine Art Gallery at the University of Redlands in Redlands, California.
1993
Receives a purchase award from the American Academy of Arts and Letters.
Lundeberg & Feitelson: Together Again is exhibited at the Los Angeles Art Association.
Included in the exhibition 75 Works, 75 Years: Collecting the Art of California, held at the Laguna Art Museum in Laguna Beach, California.
1994
The Venice High School library opens its doors to the public to view the mural History of California.
Exhibits in Independent Visions: California Modernism 1940–1970, held at the Long Beach Museum of Art.
1994–1995
Exhibits in three group shows: A Generation of Mentors, held at the National Museum of Women in the Arts in Washington, D.C., the Fresno Metropolitan Museum in Fresno, California, and Mount St. Mary’s College in Los Angeles; Washington Print Club: 30th Anniversary Exhibition: Graphic Legacy, held at the National Museum of Women in the Arts; and Pacific Dreams: Currents of Surrealism and Fantasy in California Art, 1934–1957, held at the Armand Hammer Museum of Art and Culture Center, the Oakland Museum, and the Nora Eccles Harrison Museum of Art at Utah State University in Logan, Utah.
1995
The Tobey C. Moss Gallery mounts two solo exhibitions: Helen Lundeberg: Still Lifes and Interiors and Helen Lundeberg: Then and Now.
1995–1996
Exhibits in Independent Spirits: Women Painters of the American West, 1890–1945, which travels to the Autry Museum of Western Heritage in Los Angeles; the Museum of Fine Arts in Santa Fe, New Mexico; the Gilcrease Museum at the University of Tulsa in Oklahoma; and the Museum of Art at Brigham Young University in Provo, Utah.
1996
Exhibits in four group shows: American Paintings in Southern California Collections: From Gilbert Stuart to Georgia O’Keefe, shown at the Los Angeles County Museum of Art; California Focus, shown at the Long Beach Museum of Art; Grounded: Suburban Landscapes, shown at the Orange County Museum of Art in Newport Beach, California; and Imaginary Realities: Surrealism Then and Now, shown at Louis Stern Fine Arts in Los Angeles.
1997
Helen Lundeberg: Still Life Through Five Decades is exhibited at the Tobey C. Moss Gallery.
Exhibits in Sensuality in the Abstract, held at the Los Angeles Municipal Art Gallery, and in Made in California, held at the City of Brea Gallery in Brea, California.
1998
Helen Lundeberg: Post-Surrealism to Hard Edge is shown at the Tobey C. Moss Gallery.
1999
On April 19, dies in Los Angeles.
Helen Lundeberg: A Memorial Exhibition is held at the Tobey C. Moss Gallery.
On May 23, a memorial is held at the Los Angeles County Museum of Art.
2000
The Getty Foundation awards the city of Inglewood a Preserve L.A. grant to restore and re-site History of Transportation. The mural is accepted into the California Register of Historical Resources.
The Getty Foundation, the California Heritage Fund, the California State Parks, and the Urban Recreational and Cultural Centers combine funds to initiate restoration and relocation of the mural.
Included in four group shows: Made in California: Art, Image, and Identity 1900–2000, held at the ; Los Angeles County Museum of Art; Rooms with a View, held at the Long Beach Museum of Art; Pure de(Sign), held at the Ben Maltz Gallery at Otis College of Art and Design in Los Angeles; and Visual Puns and Hard Edge Poems: Frederick Hammersley and Other Abstract Classicists, at Laguna Art Museum, Laguna Beach, California.
2001
Helen Lundeberg: Inner Visions of Outer Space, Paintings, Drawings, Prints is shown at the Tobey C. Moss Gallery.
2002
Included in the Post Surrealism exhibition held at the Pasadena Museum of California Art and the Nora Eccles Harrison Museum of Art at Utah State University in Logan, Utah.
Included in The Art of Giving: Recent Acquisitions of the Norton Simon Museum, exhibited at the Norton Simon Museum in Pasadena, California.
2003–2004
Included in two group exhibitions: The Not So Still Life, held at the San Jose Museum of Art and the Pasadena Museum of California Art; and Into the Woods, held at the Long Beach Museum of Art.
2004
Included in The Los Angeles School exhibition at the Ben Maltz Gallery at Otis College of Art and Design.
Included in the solo exhibition Helen Lundeberg and the Illusory Landscape: Five Decades of Painting, held at Louis Stern Fine Arts.
2005
Groundbreaking ceremony takes place for Grevillea Art Park in the city of Inglewood, where History of Transportation is to be relocated.
Included in two group shows: Surrealism USA, held at the National Academy Museum in New York; and The First 80 Years, held at the Los Angeles Art Association’s Gallery 825 in Los Angeles.
2006
Included in two group shows: Eighteen Profiles: Distinguished Women Artists of California, held at the Fresno Art Museum in Fresno, California; and Masters, Mentors, and Metamorphosis, held at Fullerton College in Fullerton, California.
2006–2007
Exhibited in Fourteen Paintings by Helen Lundeberg, held at the Residence of the French Consul in Los Angeles; and Married 2 Art: Exciting Works by Famous Couples in the Arts, held at the Jewish Federation of Greater Santa Barbara.
2007
Infinite Distance: Architectural Compositions by Helen Lundeberg is exhibited at Louis Stern Fine Arts.
Dedication and unveiling of the restored History of Transportation mural at Grevillea Art Park.
2007–2009
Featured in The Birth of the Cool: California Art, Design, and Culture at Midcentury, which travels to the Orange County Museum of Art in Newport Beach, California; the Mildred Lane Kemper Art Museum in St. Louis, Missouri; the Blanton Museum of Art at the University of Texas at Austin; the Addison Gallery of American Art in Andover, Massachusetts; and the Oakland Museum of California.
2007–2008
Included in Burgoyne Diller and Hard-Edge Abstraction: Underpinnings and Continuity, held at Spanierman Modern in New York.
2009
Featured in Modern Parallels: The Paintings of Mary Henry and Helen Lundeberg, held at the Sun Valley Center for the Arts in Sun Valley, Idaho.
2010
Included in two group shows: Afterglow: On the Periphery of Light and Space, held at the Wiegand Gallery at Notre Dame de Namur University in Belmont, California; and Abstraction X3: June Harwood, Helen Lundeberg, Anita Payró, held at Louis Stern Fine Arts.
2011–2012
Featured in three group shows associated with the Getty’s Pacific Standard Time initiative: Civic Virtue: The Impact of the Los Angeles Municipal Art Gallery and Watts Towers Arts Center, held at the Los Angeles Municipal Art Gallery; Crosscurrents in L.A. Painting and Sculpture, 1950–1970, held at the Getty Center; and Artistic Evolution, 1945–1963, held at the Natural History Museum of Los Angeles County.
2012
Featured in Pacific Standard Time: Art in Los Angeles 1950–1980, an exhibition at Martin-Gropius-Bau in Berlin.
Featured in Pasadena to Santa Barbara: A Selected History of Art in Southern California, held at the Santa Barbara Museum of Art in Santa Barbara, California.
Featured in California Abstract Painting: 1952 to 2011, held at Woodbury University in Burbank, California.
Featured in the exhibition In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States, which travels to the Los Angeles County Museum of Art, the Musée National des Beaux-Arts in Québec, and the Museo de Arte Moderno in Mexico City.
2013
Featured in Afterglow: Rethinking California Light and Space Art, held at Saint Mary’s College Museum of Art at Saint Mary’s College of California, in Moraga.
2011
Kindred Vision: Lorser Feitelson / Helen Lundeberg, Louis Stern Fine Arts, West Hollywood, California.
2012
In Wonderland: The Surrealist Adventures of Artists in Mexico and The United States, Los Angeles County Museum of Art, Los Angeles, California
Pasadena to Santa Barbara A Selected History of Art in Southern California, 1951 – 1969, Santa Barbara Museum of Art, Santa Barbara, California.
Abstract Classicists, Laguna Art Museum.
2014
Helen Lundeberg, SCAPE Gallery, Laguna Beach, California.
2016
Helen Lundeberg: A Retrospective, Laguna Art Museum, Laguna Beach, California.
Helen Lundeberg & The Four Abstract Classicists, Louis Stern Fine Arts, West Hollywood, California.
Helen Lundeberg: The Classic Attitude, Christin Tierney Gallery, New York, New York.