Soft Schindler begins with traces of pink paint on redwood–faint evidence of when in late 1949 Pauline Schindler, estranged from her architect husband but living in half of the house they built together, painted her side of the interior salmon pink. To R.M. Schindler, Pauline’s intolerable act violated a sanctum of modernism and his desire for honest expression of natural materials. This exhibition, however, interprets her act as softening our understanding of house as manifesto–softness as resistance–and yields to plural narratives that lay interpretive ground for contemporary artworks and architectural installations. Soft Schindler participants, through their respective practices and presented works, show the incompleteness of binary ideas in architecture, sculpture, and design– femininity vs. masculinity, inside vs. outside, heavy vs. light, rational vs. emotional–framing such notions outmoded. Each of these practitioners makes non-conforming aesthetics and ideologies manifest in space. Participants: AGENdA agencia de arquitectura (Medellin, Columbia), Pedro Ignacio Alonso and Hugo Palmarola (Santiago, Chile), Tanya Aguiñiga (Los Angeles), Laurel Consuelo Broughton (Los Angeles), Design, Bitches (Los Angeles,) Sonja Gerdes (Los Angeles and Berlin), Bettina Hubby (Los Angeles), Alice Lang (Los Angeles), Leong Leong (New York), Jorge Otero-Pailos (New York), Anna Puigjaner — MAIO (Barcelona, Spain), and Bryony Roberts (New York) Image courtesy Design, Bitches