Critic Ted Wolff visiting the gallery to view the 1981 William T. Wiley exhibition at Allan Frumkin Gallery, New York. Installed behind him, l-r: Magabark, 1981; Bad Balance II: Freedumb and Ridicule, 1981; Still Life for Atlantic, 1981; and to his right, Scam Quentin, 1981.

In December of 1981, the gallery mounted its sixth exhibition of Wiley's work, including new paintings, drawings and sculpture completed since his first retrospective at the Walker Art Center a year prior. Among the many laudatory reviews of the show was Wolff's, for the Christian Science Monitor, where he described it as "not only a delight in itself but [one] that, in its masterful nailing of the wryly humorous and the gently satiric, speaks well for the future of wit and lightness of touch in American art."

Robert Arneson, Roy De Forest and William T. Wiley are included in a group exhibition at the Manetti Shrem Museum of Art. Gesture: The Human Figure After Abstraction presents the work of the first-generation artists of the UC Davis art department at a pivotal moment in art history. As part of what came to be known as the Bay Area Figurative Movement, Davis artists looked to abstract art while nurturing a distinctive identity for modernism.

Robert Arneson and WIlliam T. Wiley are included included in Slant Step Forward at the Verge Center for the Arts. The exhibition centers itself around the "slant step," an infamous slanted stool originally procured by Wiley back in 1965. Over five decades the slant step was passed around between artists from Northern California such as Bruce Nauman and Richard Serra, and went on to inspire countless works of art and literature, including an artists' book published in 1969 by Phil Weidman.

Roy De Forest and William T. Wiley are featured in West by Midwest at the Museum of Contemporary Art, Chicago. This exhibition illuminates the ways that contemporary art practices spread and develop by tracing the intersecting lives of artists who have migrated from the American Midwest to the West Coast since the mid-20th century.

For the innagural exhibition at the new Manetti Shrem Museum of Art at UC Davis, Out Our Way explores the development of the revolutionary UC Davis Department of Art, founded in 1958. The exhibition revives the “spirit of defiant provincialism” which, in merely 10 years, propelled the program to be recognized as one of the most courageous and wildly inventive communities of artists working in the world. 

Featuring the work of Wayne Thiebaud, Robert Arneson, William T. Wiley, Roy De Forest, Roland Petersen, Manuel Neri, Ralph Johnson, Ruth Horsting, Daniel Shapiro, Tio Giambruni, Jane Garritson and John Baxter, Out Our Way is on view through March 26, 2017.

As part of the Tajan ARTSTUDIO program, a series of special exhibitions held at L'Espace Tajan, Paris, is a special exhibition focusing on artists of the Bay Area, from 1960-1990. Including the work of Robert Arneson, Joan Brown, Bruce Conner, Roy De Forest, Peter Saul, Mark di Suvero, Wayne Thiebaud and William T Wiley, it is the first exhibition of its scope and focus to be presented in Paris. A catalog with essay by Hilarie Faberman has been published for the occasion.