I designed this exhibition in collaboration with curators Ben Weiss and Lynda Klich, and graphic designer Eben Haines.

The show featured 150 postcards produced between World War I and the end of World War II, presented as both historical documents and exceptional works of graphic design. Select posters and film clips expanded on the central themes and demonstrated how propaganda circulated across different media. Drawn entirely from the Leonard A. Lauder Postcard Archive, the exhibition explored topics such as Leaders, Heroes, Villains, Abstractions, Fake News, and Mockery.

The gallery consisted of two adjoining rooms punctuated by several doorways—essentially a thoroughfare within the museum. The first challenge was creating a sense of arrival, a visual cue that visitors had stepped into a distinct exhibition despite the surrounding activity. To address this, I used a spatial language based on triangulation to clearly carve out space around exhibition. This gave me the freedom and flexibility to shape spaces to fit each section. High-contrast dark and light tones on the walls, ceiling and floor helped to make the spaces feel dynamic and enveloping.

The second challenge was presenting a large number of small 2D objects in a way that felt legible, varied, and engaging. I created three case types to offer different modes of viewing and maintain visual interest: angled table cases leaning against the wall, flat wall-mounted cases, and shelf-like cases with dual slots that held plexiglass-mounted postcards upright in parallel rows. This last approach grew out of a large central case designed to display a series of postcards of soldiers in battle; mounting them vertically allowed the figures to read as a collective scene while also allowing visitors to read the back of the postcards.