Dezeen reports that 'Light and Color' at Zürich's Museum für Gestaltung is the first museum exhibition dedicated entirely to Sabine Marcelis's work since she founded her studio 15 years ago.

The Rotterdam-based designer, who went from student at the Design Academy Eindhoven to one of the most in-demand names in design, told Dezeen it is the first time a museum has brought so much of her work together in one place.

'It feels pretty special,' she admitted, saying she is usually too focused on what's next to look back.

Marcelis insisted to Dezeen that the show should not read as a chronological retrospective.

Instead, 17 key pieces from the past decade and a half are arranged by colour, blending into one another like the soft gradients she favours in works such as her curved glass chaise longues for the Barcelona Pavilion.

The selection runs from Tall Stripe, her first-ever mirror, to the resin Candy Cubes that catapulted her to international acclaim in 2014, with her favourite materials — glass, resin and stone — spotlit to show the reflections and shadows she has learned to elicit.

Two room-scale installations, which Dezeen compares to Yayoi Kusama's Infinity Mirror Rooms, throw back endless reflections of Marcelis's viral IKEA 'donut lamp' and the three-metre-tall Column lava lamp she made for Mathmos.

Curator Damian Fopp told Dezeen these are less about Instagram bait and more about shifting the conversation 'from online to physical,' since her work circulated widely as images but no institution had looked at it as a whole.

A mini-documentary and a book commissioned for the show reveal the testing, prototyping and production behind the calm, effortless pictures.

Marcelis's debut lands in a season crowded with museum firsts.

In Chicago, the Chicago Reader's review notes that 'Kenzi Shiokava' at the Museum of Contemporary Art is the late LA-based artist's first solo museum exhibition, installing his totemic driftwood sculptures and shadow-box assemblages along low, curved pedestals through January 31, 2027.

Both shows argue, in different ways, that material and attention can reanimate familiar objects — and Marcelis, per Dezeen, has pivoted her production to 99 percent biobased resin while insisting materials remain her studio's North Star.