Arcadia Exhibitions organizes programming for four distinct gallery spaces on Arcadia University’s campus, offering a stimulating roster of individual and thematic exhibitions of contemporary art ranging in scope and stature from the regional to the international. Arcadia's exhibitions regularly travel, often to major museums many times its scale, such as the Hammer Museum in Los Angeles and the Victoria & Albert Museum in London. With grants from the Center, Arcadia has organized Ai Weiwei: Dropping the Urn (2009), a traveling survey of the Beijing-based artist’s ceramics and the first museum show of his work outside of New York; JG (2010), a major new film by Berlin-based artist Tacita Dean, shot in Death Valley and the Salt Lake Flats; and Pati Hill: Photocopier (2014), an exhibition of the early artwork of Pati Hill, an American writer who pioneered the use of the photocopier as an artistic tool in the 1970s. In 2019, Arcadia received a Center Project grant to produce Polly Apfelbaum: For the Love of Una Hale, an exhibition of new work by award-winning visual artist Polly Apfelbaum, who fuses craft traditions, sculpture, and large-scale installation. In 2020, Arcadia received a Center Project grant to present Sun & Sea, a contemporary Lithuanian opera that addresses ecological concerns through the inner monologues and melodies of a chorus of beachgoers.
Ai Weiwei: Dropping the Urn was the first museum exhibition of internationally acclaimed Chinese artist Ai Weiwei to be presented in the United States outside of New York City. Included were examples of Weiwei's use of Neolithic and Han Dynasty vessels that he marked with hand-painted inscriptions of the Coca-Cola logo, dipped into vats of industrial paint, or smashed on the ground in performances for the camera. It also included a new work made from a ton of "sunflower seeds" crafted from porcelain. The exhibition was scheduled to coincide with the spring 2010 conference of the National Council on Education for the Ceramic Arts in Philadelphia, and was conceived to contribute a critical polemic to the discourse about clay in the region. The catalog includes essays by writer and curator Philip Tinari and art historian Dario Gamboni, examining Weiwei's strategies within the legacy of iconoclasm; an essay situating Weiwei's work within the tradition of Chinese ceramics by Stacey Pierson; and a text by Victoria and Albert Museum curator Glenn Adamson.