Past Exhibitions & Events

February 27, 2016, Oho 2: The Other End of the Line, reading/performance by Mark Owens
February 2016, Works on Paper: Recent Acquisitions (& a Few old Favorites)
January 30, 2016, Grand Re(Opening) Celebration
September 19, 2015, Oho 1: A Long Line, poem performance by Mark Owens
August 2015  Poems to Work On, wall pieces by Jim Dine
June 2015  Bricolage / Discrete Series, an empirical exhibition
April 2015  Liminal Matter: Fences  Photographs by Terri Warpinski with poems by Laura Winter

WORKS ON PAPERRecent Acquisitions (& a Few Old Favorites)

February 2 – March 19, 2016

Japanese textile stencils, woodcuts, lithographs, silkscreen posters, letterpress broadsides, visual poems, manuscripts, collages:
a modest selection from the drawers of the flat file.

Click here for descriptions and price list. 
(Or, click on any image for a larger view and scroll in either direction; mouse over the images for description and price.)

To order, email for confirmation of availability, payment arrangements, and shipping options.



A Long Line
by Mark Owens

Writing one line
along a long scroll
for four hours
filling the floor
of Passages' gallery
then dropping it
out the window

Saturday, September 19
10:00 am - 2:00 pm
(come and go as you wish)

Poem will be dropped out the window at 2:20 pm
Audience can view the drop from 2nd Avenue

You can see documentation on the Facebook page for the event.

AUGUST 1 – 29, 2015



An exhibition and reading to celebrate the publication of Jim Dine's collected poems

Gallery Hours:

Saturdays 10 am to 4 pm
most other days by appointment or chance

Closing Reception and Reading by Jim Dine:

Saturday, August 29, 1:00 to 3:00 pm

Scroll down to see installation photos

Poems as wall drawings; the gallery as a walk-in book:
an installation of floor-to-ceiling poems, designed to fit the gallery space. Dine has written out poems from his recent collected —
Poems to Work On, published by Cuneiform Press — as well as new poems, which evidence the process of their composition:

I write in charcoal or crayon and then 'white out' when I want to change a word, with a mixture of white pigment mixed with shellac.
I also can cut out a line with a box cutter and lose it or use it in another place in the poem by glueing it or stapling it to the paper on the wall.
This technique is a lot like the way I draw. Correcting and erasing are
important tools, for my poems
and my drawings.

Also on display: a small selection from the many books Dine has illustrated (including books by Harry Mathews, Tom Raworth, and Tom Clark, and legendary collaborations with Ron Padgett) as well as earlier books of his own poems.

Poems to Work On will be available for purchase throughout the exhibition, as well as the out-of-print Walldrawing from the Kunstverein Ludwigsburg.

In September, Jim Dine will exhibit these wall writings as the first of a series of literary exhibitions to be held at the new Günter Grass Archive in Göttingen, Germany, established by the publisher Gerhard Steidl.


June 6–30, 2015


an empirical exhibition

Opening reception:  
Saturday, June 6, 12:00–3:00 pm

          featuring two-dimensional work by

Bern Porter          Antoni Tàpies          Tom Phillips
Norval Morriseau          Felicia Atkinson          
Michael Moore          Steve Seidenberg          Fredrik Averin
Scott Hyde          Terri Warpinski          Anna Daedalus
Karen Randall          Jacob Jones          Emily McVarish        
Richard Tipping          Augusto de Campos          Paul Maurer          Jess Collins          
Sam Lohmann          Robert Schlegel          Linda Hutchins          Nate Orton          Diane Jacobs          Valerie Wernet

          among many others, and including

anonymous photographs          thrift store paintings          letterpress broadsides          engineering drawings
hand-colored campo santos          experimental lithographs          propaganda posters          drawings by poets

          hung according to the laws of chance

“Despite Fences” from the portfolio LIMINAL MATTER: FENCES

April 4–29, 2015


Photographs by Terri Warpinski

with poems by Laura Winter

Opening reception:
Saturday, April 4, 12:00–3:00 pm

Poetry reading & Artist's talk:
Saturday, April 25, 5:00–7:00 pm


LIMINAL MATTER: FENCES pairs arresting images of the U.S.–Mexico border by Eugene photographer Terri Warpinski with responses to the images by Portland poet Laura Winter. Warpinski’s photographs document the physical manifestations of the zone where the two nations meet, while Winter’s poems remind the viewer of the social and psychological impact of the border on the people whose lives are defined and delimited by that line.

The fourteen image-and-text broadsides in the collaborative series LIMINAL MATTER: FENCES will be on display through the month of April as the inaugural exhibition at the gallery. Also on view throughout the exhibition will be photographic prints by Terri Warpinski from the three related series that make up the larger project SURFACE TENSION (U.S.–Mexico, Israel–Palestine, and Berlin), as well as books and broadsides by both Laura Winter and Terri Warpinski.

A portfolio of fourteen broadsides, digitally printed using archival pigments on Hahnemuhle Photo Rag 308 gsm paper, each broadside signed and numbered by the artists in an edition of twenty copies. 

Broadsides are available for purchase individually and as a portfolio; fifteen portfolios will be offered for sale. See the listing on this site to purchase, or for more information, contact David Abel at Passages Bookshop, (503) 233-4562,




From her home base in Eugene, Oregon, Terri Warpinski travels the world to expand her creative practice, which is focused on the relationship between personal, cultural, and natural histories. Warpinski is a Professor of Art at the University of Oregon, and was a Fulbright Scholar in Israel in 2000–2001. In 2013 and 2014 she was awarded an Individual Artist Fellowship and Career Opportunity Grant from the Ford Family Foundation and Oregon Arts Commission.

Warpinski’s work has been shown internationally in more than a hundred exhibitions, at such venues as the Pingyao International Festival of Photography in China; the U.S. Embassy in Jerusalem; Houston International Fotofest; the Center for Photography in Woodstock, New York; the University of the Arts in Philadelphia; and Camerawork in San Francisco. Her solo exhibition Surface Tension opened in 2014 in Fort Collins, Colorado, and will travel through 2017 to venues in Nebraska, Illinois, New York, Pennsylvania, and Arizona.


Laura Winter was born in Milwaukee, Wisconsin. In 1979 she bought a one-way ticket to Portland, Oregon, where she maintains an active writing, publishing, and performance art practice, and is a vice president for the Oregon Community Foundation.

The landscapes of the West — and her love of improvised music — inform Winter’s approach to language. Her poetry collections include, most recently, Now Name Them (Bare Bone Books), Coming Here to be Alone (Mountains and Rivers Press; bilingual, in English and German), and sleeping leaves (Mountains and Rivers Press), among others. Winter’s poems have been set to music by several contemporary composers, and she often performs her work with improvising musicians. She also curates and publishes TAKE OUT, an occasional “bag-a-zine” of art, writing, and music that features crucial artists from around the globe.



 Borders, walls, fences, boundaries, divides, separations, and barriers in their most primitive stage are a decision — a human determination. They first reside in the place of the mind and enter the landscape in that way — as concept. Borders, as sites, support the creation of oppositional relationships between us and them, self and other, right and wrong, rich and poor, victim and terrorist. The border construction, reinforced by language, is the spatialization of good and bad.

Focusing on three border zones — the Israel-Palestine border, the U.S.-Mexico border, and the former Berlin wall  — Surface Tension explores the multiple and conflicted perspectives that complicate these places. Walls and fences, embodiments of social and political oppositions, mark and divide the physical landscape. The images in Surface Tension fuse various methods for capturing and presenting digital photographs (from cell phone to high resolution, from single frame to triptych) to address the complexities of the present, past, and future of these divided landscapes. Working with and combining images from three border zones conflates the tensions endemic to each, and questions the ethics of conflict through an open-ended narrative.

Terri Warpinski, 2015