"Proverbs, Adages and Maxims," Dr. Bernard Heller Museum, Hebrew Union College - Jewish Institute of Religion, New York University, New York NY July 2025 - September 2026, catalogue

There are Other Fish in the Sea, installation, each: 14 x 18 inches, oil on canvas

Purdue Galleries, permanent collection, painting permanently installed in lobby, Yue-Kong Pao Hall of Visual and Performing Arts, Purdue University, West Lafayette IN

Birch Bark, 2021, oil on canvas, 30 x 30 inches

Boca Raton Museum of Art, permanent collection, Boca Raton FL

Orange Sunflower, 2022, oil on canvas, 30 x 30 inches

University Museums, permanent collection, University of Delaware, Newark DE

Mayday, 2020, oil on canvas, 30 x 30 inches

University Museums, permanent collection, University of Delaware, Newark DE

Ring, 2021, oil, fluorescent paint on canvas, 30 x 30 inches

UB Art Galleries, permanent collection, University of Buffalo, Buffalo NY

Flurries, 2021, oil on canvas, 30 x 30 inches

UB Art Galleries, permanent collection, University of Buffalo, Buffalo NY

Duet, 2021, oil on canvas, 30 x 30 inches

UB Art Galleries, permanent collection, University of Buffalo, Buffalo NY

Red-Gold, 2020, oil on canvas, 30 x 30 inches

Eskenazi Museum of Art, permanent collection, Indiana University, Bloomington IN

Sunflower, 2021, oil on canvas, 30 x 30 inches

"ONE NATION With Liberty and Justice for All," Dr. Bernard Heller Museum, Hebrew Union College — Jewish Institute of Religion, New York NY

Everyone is Different, Everyone is the Same, 2021, oil on canvas, 30 x 30 inches, catalogue

"MAGICAL THINKING, Superstitions and Other Tenacious Notions," Dr. Bernard Heller Museum, Hebrew Union College — Jewish Institute of Religion, New York NY

Evil Eyes, 2019, oil on canvas, 22 x 22 inches, catalogue

Fidelity Investments Corporate Art Collection, Boston MA

One of two works on paper acquired for the collection.

London Plane Tree #5, 2011, oil on Stonehenge paper, 17 x 15 inches

"Open Storage:" RAM Showcases Ceramics, Fiber & Regional Archives, Racine Art Museum (RAM), Racine WI

The RAM owns 35 of my early works on paper. All these works will be exhibited in Open Storage.

The exhibition is arranged as solo shows.

Fingerprint, 2005, acrylic on cut paper

"Art@50Plus," Islip Art Museum, East Islip NY

Exhibition curated by Holly Gordon.

David's Tree, 2019, oil on canvas, 30 x 30 inches.

"ECHOES: From There to Here," Diego Rivera Gallery, San Francisco Art Institute, San Francisco CA

Palm, 2017, oil on canvas, 15 x 18 inches.

Catalogue

"Prime Time," Islip Art Museum, East Islip NY

Six of my paintings in "Prime Time." Exhibition curated by Christine O'Malley.

"Pow," DePaul Art Museum, Chicago IL

Acquisition: collage work on paper, 2007.

"What is a Woman?" Book

"She" featured in book, published by Together to Empower, Goleta CA.

"The Art of It, All Things Are Natural," Litchfield Magazine

"Aleph" featured in the magazine.

"All Things Natural," Five Points Gallery, Torrington CT

Announcement card featuring "Aleph," one of my four paintings in the exhibition.

International Independent Art Fair (IIAFNYC), New York NY

St. Martin's Episcopal Church

Manual: Polychrome, Issue 10, a biannual journal about art and its making

Published by RISD Museum, Providence RI

Wikipedia Artist Profile

https://en.wikipedia.org/wiki/Merle_Temkin

"Two Coats of Paint"

Art newsletter

"NEW ACQUISITIONS 2016," David Owsley Museum of Art, Muncie IN

Installation of "My Left Index Finger" with ancient Buddhas.

"My Left Index Finger," David Owsley Museum of Art, Muncie IN

The David Owsley Museum of Art, Muncie IN, acquired an 11-piece oil on paper installation of mine, "My Left Index Finger," 2008, for the permanent collection.

"Cut, Fold and Form," Racine Art Museum, Racine WI

The Racine Art Museum, Racine WI, acquired 32 of my works on paper from 5 series for their permanent collection. The series trace the development of my body of work from 1995 to 2008. One series is included in "Cut, Fold and Form, " at the museum from January 24 to May 1, 2016.

"Natural Allusions," Addison/Ripley Fine Art, Washington DC

My painting is featured in the gallery window - one of the "Three Sisters" triptych, the other two paintings are visible on the wall to the right.

"Trees," Lincoln Center, New York NY

Permanent installation of three paintings, "Trees," Lincoln Center Kitchen, David Geffen Hall at Lincoln Center, New York NY.

"Artist Profile: Merle Temkin," Art in Brooklyn / Art in New York City

Michael Sorgatz selected my three painting to be featured on Art in Brooklyn / Art in New York City

Tulip Tree, 2014, oil on canvas. 36 x 38 inches,

Autumn Tree, 2014, oil on linen, 36 x 38 inches,

Copper Beech Tree, 2013, oil on linen, 28 x 27 inches.

International Plain Notebook Project, Tel Aviv, Israel

Beit Ha'ir Urban Culture Museum Tel Aviv, Israel

A plain notebook was sent to participating international artists who were asked to create a work of art using it. In my notebook I continued to explore a long-running theme of chain-link fencing through collage and paint.

"London Plane Tree," Providence RI

The Museum of Art, Rhode Island School of Design, acquired my work on paper," London Plane Tree," 2011, for the permanent collection.

"Hearts and Flowers," Muncie IN

The David Owsley Museum of Art, Ball State University, Muncie, IN, acquired "Hearts and Flowers," 1995, a work on paper with thread and paint, for its permanent collection.

"Only Me," Racine Art Museum, Racine WI

The Racine Art Museum, Racine WI acquired a 24-piece installation, "Only Me," 2002–2009, embroidery, paint on paper.

Pollack-Krasner Foundation Award

Tree paintings

"She," Park Hagalil, Karmiel, Israel

Permanent sculpture: 9 x 3 feet, galvanized iron and stainless steel mirrors, commissioned by Municipality of Karmiel

(See video of the installation below)

"Merle Temkin: Fingerprints," solo exhibition at Chicago Cultural Center

BY KEVIN NANCE Art Critic, Chicago Sun Times, Jan. 17, 2007

For years now it's been fashionable, and increasingly a cliche, for critics to speak of artists as "making marks"—a fancy and ideologically fraught way of describing the gesture of applying pigment to canvas. In her intriguing new show at the Chicago Cultural Center, painter Merle Temkin adds an extra layer (or two or three) of metaphoric meaning to the idea of markmaking in a series of largely abstract images incorporating her own fingerprints and footprints.

Combining works in acrylic paint, dye and thread on cloth with others on cut paper, "Fingerprints" both objectifies that most personal of marks—the pattern of whorls and sickle-shaped lines that distinguish every person from any other—and turns it into a surprisingly universal aesthetic statement about the simultaneous uniqueness and anonymity of human identity. The conundrum of a fingerprint as the ultimate signature is that one looks at first glance much like any other; only by examining it in microscopic detail, as the artist has done here, can we associate it with an individual.

Most effective and haunting are the works on paper, whose sliced-and-reconfigured quality suggests a fracturing and reassembling of identity with implications that are both psychological and—especially in this era of increasing surveillance—political.

Temkin, born and educated in Chicago and based in New York, also draws our attention to the sheer formal beauty of the fingerprint, which, in these heavily ridged pieces built up with thick impasto strokes and dangling threads suggestive of embroidery or quiltmaking, may remind viewers of mazes, exotic animal hides or the strata of an archeological dig. The artist's technique is the opposite of slick; if there's a single word to describe Temkin's work, it's "handmade."