1. Window display by Jean Tinguely, optician "M.Ramstein Iberg Co.", Basel, May 1949, ©Staatarchiv Basel-Stadt, BSL 1022 K1 1601 D, Museum Tinguely, Peter Moeschlin
The art of shops window, a fusion of trade and creativity
At first glance, the convergence of visual art and shop windows may appear unexpected. However, history reveals a long-standing tradition of artistic engagement with commercial displays. From the evolution of window shopping in the 19th century to contemporary artistic interventions, shop windows have served as platforms for aesthetic innovation, social commentary, and reflections on consumer culture. This article explores the ways in which artists have interacted with and transformed shop windows over time, from designing displays to using them as motifs in their work, all of which is presented in the current exhibition of the Museum Tinguely in Basel.
The evolution of shop window aesthetics
2. Installation view "Fresh Window" at Museum Tinguely, Basel, featuring works of Sari Dienes, © Sari Dienes Foundation, 2024 / 2025, ProLitteris, Zurich, Collection of the Sari Dienes Foundation. Photo : Pati Grabowicz
In the 19th century, as consumer culture flourished, shop windows became central to the shopping experience. The rise of window shopping democratized access to luxury and fashion, allowing even those who could not afford the products to engage with the product. Retailers quickly recognized the power of innovative displays and began commissioning artists to create striking arrangements designed to capture the attention of passersby.
Artists like Jean Tinguely began their careers as window dressers before establishing themselves in the art world. By the mid-20th century, department stores such as Tiffany & Co., in collaboration with Bonwit Teller, actively partnered with artists, blurring the boundaries between commercial display and fine art. Robert Rauschenberg and Jasper Johns, operating under the pseudonym Mason Jones, created surreal and visually arresting window designs.
Gene Moore, art director at Bonwit Teller and Tiffany & Co., sought out talented young artists in need of income, often granting them significant creative freedom. While some artists hesitated to associate their work with the commercial sphere, hence Jasper Johns and Robert Rauschenberg’s use of the alias “Matson Jones”, many incorporated their artistic identities into their designs.
Tinguely, for instance, integrated wire elements reminiscent of his sculptures into his window dressings. Johns included his first flag painting, "Flag on Orange Field", in a 1957 display, while Rauschenberg took advantage of Bonwit Teller’s showcase to feature his combine painting "Collection" (1954–55). Salvador Dalí, enraged by a modification to his design at Bonwit Teller, famously retaliated by shoving a bathtub through the store’s window.
Among the pioneering figures in this field was Sari Dienes, whose experimental techniques and unconventional materials set her apart. She incorporated elements such as plaster collages and frottage (rubbings of urban textures) into Tiffany & Co.'s window displays. Her work redefined the art of window dressing, transforming these commercial spaces into artistic statements that merged modernist abstraction with the material culture of the city.
3. Bertrand Lavier, Avenue Rapp, 2024, Installation view "Fresh Window" at Museum Tinguely, Basel, 2024, Inkjet print on canvas, 247 x 205 cm, © 2024/2025 ProLitteris, Courtesy of the artist and Mennour, Paris, 2024 Museum Tinguely, Basel, Pati Grabowicz
While shop windows are typically associated with transparency and visibility, many artists have explored the power of concealment. Marcel Duchamp’s "Fresh Widow" (1920) obscured a French window with black leather, stripping it of its function and metaphorical associations. Similarly, Christo’s "Store Fronts" covered display windows with cloth or paper, denying viewers the expected commercial spectacle and instead provoking curiosity.
The act of covering windows has also been employed as a form of social and political commentary. In 2001, Johnnie Shand Kydd documented the shopfronts of Bond Street in London, which had been barricaded with plywood to protect them from anti-globalization protests. The geometric patterns of the wooden panels turned these elite storefronts into abstract compositions, highlighting the tension between commerce and social unrest.
Bertrand Lavier also subverts expectations with his photographic works, which depict shop windows covered in "Blanc d’Espagne", a temporary whitewash used during renovations. By shifting attention from the merchandise to the surface of the glass itself, Lavier redefines the shop window as a subject of aesthetic contemplation rather than mere commercial function.
Beyond their role as static displays, shop windows have also functioned as stages for performance art and social critique. In her 1976 performance "Role Exchange", Marina Abramović swapped places with a sex worker, spending two hours in a brothel window while the worker attended one of Abramović’s gallery openings. By placing herself on display in a commercialized setting, Abramović confronted societal attitudes towards visibility, objectification, and power.
Other artists have used shop windows to explore personal and political themes. In "Fenster (Script)", Jiajia Zhang replaced the standard opening hours of a store with her child’s feeding schedule, questioning the divide between public and private life. María Teresa Hincapié spent three days in a Bogotá bookshop window performing everyday domestic tasks, highlighting the invisibility of women’s labor. Vlasta Delimar has similarly used shop windows to challenge gender norms, addressing themes such as care work, sexuality, and the expectations placed on women.
Shop windows in decline
4. Peter Blake, The Toy Shop, 1962, Wood, glass, paper, plastic, fabric and other materials, 156,8 x 194 x 54 cm, © 2024/2025 ProLitteris, Zurich, Tate, Purchased, 1970
With the rise of online shopping and the decline of traditional retail spaces, the role of the shop window has shifted dramatically. Once central to urban life, these displays are now often abandoned, their aesthetic significance diminished. Artists have responded by documenting and reinterpreting this transition.
Despite its decline, the shop window remains a potent symbol, inspiring artistic reinterpretations that push its conceptual boundaries. Elmgreen & Dragset’s "Prada Marfa" stands isolated in the Texas desert, mimicking a luxury boutique window yet existing entirely outside the realm of commerce. While intended as a critique of consumerism, the piece itself has become a tourist attraction, illustrating the inescapable pull of branding and spectacle.
Similarly, Peter Blake’s "Toy Shop" and Sarah Staton’s "Kunstkammerkiosk" blur the line between museum displays and retail windows, questioning the commodification of art. By placing personal collections and unique objects in shop window settings, these works challenge viewers to consider the ways in which cultural institutions and consumer spaces intersect.
Conclusion
The shop window has long served as both a commercial tool and a site for artistic intervention. From early experiments in window dressing to contemporary critiques of capitalism and visibility, artists have continually transformed these spaces into arenas for creativity and discourse. Whether celebrating consumer culture, subverting its expectations, or mourning its decline, the art of the shop window remains a fascinating and evolving subject, reflecting broader societal changes in commerce, identity, and urban life.
Informations about the exhibition
Place: Museum Tinguely
Date: 4.12.2024 – 11.5.2025
Curators: Adrian Dannatt, Tabea Panizzi, Andres Pardey and Melanie Keller
Ticket: Available on the website of the Museum Tinguely OR at the front desk of the museum
Informations about the Museum Tinguely
Museum Tinguely
Paul Sacher-Anlage 2 - P.O Box 3255
CH-4002 Basel
Phone: +41 61 681 93 20
Mail: tinguelybasel.infos@roche.com