This summer, the Crocker Art Museum invites visitors to immerse themselves inside the personal universe of esteemed Sacramento artist Suzanne Adan. The artist’s first major retrospective—Suzanne Adan: I’m No Spring Chicken—combines fantasy, popular culture, and autobiography. Assembled in her 80th year, and titled by the artist, the exhibition showcases Adan’s sardonic wit, fondness for nostalgia, and spirit of mischievousness. Her technical mastery and range are featured in more than 100 examples of her playful paintings, drawings, prints, and ceramic sculptures. The exhibition is on view from June 28 through October 11, 2026.

“Adan’s richly narrative paintings employ a personal and visual vocabulary that is most certainly American but informed by sources internationally,” says Scott A. Shields, PhD, the Crocker’s Ted and Melza Barr Chief Curator & Associate Director. “She developed her practice within a rich context of eclectically irreverent Northern California artists, whose everyday subject matter, tongue-in-cheek humor, and penchant for the subversive or naughty led to her own absurd and satirical edge.”

Born in Woodland in 1946, Adan grew up in nearby Yolo, 24 miles northwest of Sacramento. Her small-town upbringing has long been an important influence on her art, which pairs childhood memories with adult themes and implications of innocence lost. By the time Adan graduated from high school she had grown restless in the cloistered environment of her youth. In college, her world view changed dramatically, almost from the outset, as the realities of the 1960s collided with the sheltered life she had led.

While earning her BA and MA from Sacramento State, Adan began to develop her iconography and tongue-in-cheek style. She made her first mature work starting in graduate school—combining imagery familiar to women with satire, not-so-subtle witticisms, sexual overtones, and puns. Her works in clay and efforts in two-dimensional media had begun to evidence her upbringing, sense of humor, and thoughts about the world. She exhibited these early works at the Candy Store Gallery in Folsom, her pieces displayed alongside those by other eclectically irreverent Northern California Funk and Nut artists, as well as members of Chicago’s Hairy Who.

In Adan’s later work, the picture plane becomes a stage for joyful disorder: toy-like humanoids run amuck with wide-eyed animals, geometric forms, and cascades of ovate polka dots. Letters and numbers, which also factor into many of her works, sometimes function as decorative elements but also create cryptic word puzzles that may offer clues about the subject matter or the person a piece might honor or memorialize. Her signature brushstrokes—applied in small, deliberate swatches that recall sewing stitches—bind each composition together. Over time, she sharpened and stylized this tactile language, translating its rhythmic energy into her staccato drawings, prints, and scratchboards.

“This exhibition not only celebrates an important artist— it honors a community and an aesthetic approach that has helped define the Sacramento region,” notes Agustín Arteaga, the Crocker Art Museum’s Mort and Marcy Friedman Director & CEO. “We’re thrilled to present such distinctly local creations with influence well beyond Northern California.”

Suzanne Adan: I’m No Spring Chicken is an opportunity to rediscover an artist whose work continues to surprise, challenge, and delight. Celebrating a singular creative voice that has shaped the artistic fabric of the Sacramento region for more than five decades—this retrospective is both deeply personal and broadly resonant, affirming Adan’s enduring curiosity, fearless humor, and unwavering commitment to invention.

The exhibition is accompanied by an 180-page illustrated catalogue, published by Hirmer and written by exhibition curator Scott A. Shields, PhD, with essays by Diana L. Daniels and Elaine O’Brien, PhD, and a foreword by Gladys Nilsson.