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New Art Acquisitions and Hidden Treasures

  •  Lapis Waters, 2016

    Lapis Waters, 2016
    Painted aluminum on wood panel
    54 x 89 x 3 inches
    Gift of Bowler – MacElroy Family

    Moran/Brown was commissioned to create Lapis Waters, a contemporary abstract wall sculpture that provides a focal point of tranquil beauty, for the new Leonard P. Zakim Center for Integrative Therapies and Healthy Living at Dana-Farber Cancer Institute. The artists achieved a rich palette by airbrushing multiple layers of transparent paint over metal. The interplay of luminescent color and tonal shifts were key elements in the creation of Lapis Waters, a sculpture that effectively engages the viewer in visual meditation.

    Anne Moran attended the Visual Arts Program, Carnegie-Mellon University in Pittsburgh, Pennsylvania from 1986-1988 as a full scholarship recipient and earned a BFA from the San Francisco Art Institute in 1990. Sculptor Robert Brown earned an Associate of Arts from Cochise College in Douglas, Arizona in 1993. Anne Moran and Robert Brown are a collaborative team living in Wilmington, North Carolina. Their work has been placed in prominent hotels, corporate headquarters and medical facilities worldwide.

  • View more hidden treasures from our collection of more than 1,500 works of art.

  • Vermeer & Vija Celmins, 2000
    Terri Priest

    Vermeer & Vija Celmins, 2000
    Oil & acrylic on canvas
    59 x 45 inches
    Gift of Marcia and Abbot Vose

    In Vermeer & Vija Celmins, Terri Priest juxtaposes the works of two artists, Johannes Vermeer and Vija Celmins. The Vermeer figure was appropriated from The Music Lesson and the starry night sky from Celmin's mezzotint, Strata.

    Studying the painting techniques and color relationships of the Dutch master and several modern counterparts, Priest painted Vermeer's women on a larger scale, occasionally reversing their pose, viewing or relating to works of 20th century art. Both her replications of the women and the modern works are rendered with meticulous accuracy, the painted surfaces of both originals modified to work together.

    But the subject matter is perhaps more intriguing to the viewer that the compositional details. For more than three centuries, the focus of Vermeer's paintings was often a female subject that stood alone, performing insignificant tasks within his Delft home. In this and similar works, Priest liberates Vermeer’s women from their original settings into environments that expose them to the world of modern art and culture. By enlarging the women in her works, the artist gives them more importance, no longer diminutive or confined by domesticity. In Vermeer & Vija Celmins, the Vermeer woman looks out into the infinity of a night sky, Priest's invitation to explore greater space, the world beyond.

    Terri Priest earned a BFA and MFA from the University of Massachusetts, Amherst. Her works are included in several museum collections in Massachusetts, including the Worcester Art Museum, the DeCordova Museum, and the Springfield Museum of Fine Arts, as well as exhibited extensively in national shows. A professor of visual arts at the College of the Holy Cross for fifteen years, she retired from the faculty in 1993 to devote more time to her painting and the Fletcher/Priest Gallery, a Worcester-based contemporary art gallery.

    Vija Celmins was born in Riga, Latvia in 1938. She received a BFA from the John Herron Institute in Indianapolis and a MFA in painting from the University of California, Los Angeles. Pop artist Celmins received international attention at an early age for her accurate renditions of limitless space that lack a point of reference, horizon, or discernable depth of field.

    Vemeer & Vija Celmins, 2000 can be viewed in the Yawkey Center for Cancer Care, Floor 14.

    Forever (For Old Lady Sally), 2006
    Loretta Bennett

    Forever (For Old Lady Sally), 2006
    Color aquatint, spit bite & soft ground etching
    31 x 46 inches
    Corridor adjacent Conference Room 102A- Level 1
    DF/BWCC in clinical affiliation with South Shore Hospital

    Gee's Bend, Alabama is a small rural community nestled in a curve of the Alabama River. Founded in antebellum times, it was the site of cotton plantations, primarily the lands of Joseph Gee and his relative Mark Pettway who bought the Gee estate in 1850. Isolated from much of the surrounding countryside, the formerly enslaved people remained as tenant farmers after the Civil War and developed a distinctive local culture. Combining materials to form uniquely bold, abstract compositions, the Gee’s bend quilters revealed a genius for color and geometry. These quilts were originally made for practical use, piled in layers on beds for warmth.

    The women of Gee's Bend passed their skills and aesthetic down through at least six generations to the present. Representing a body of work completed between 1930 and 2000, the "Quilts of Gee’s Bend" exhibition received tremendous international acclaim on its twelve-city American tour. Art critics worldwide compared the quilts to the works of important artists such as Henri Matisse and Paul Klee. The New York Times called the quilts "some of the most miraculous works of modern art America has produced".

    Loretta Bennett is among the younger generation of quilters whose work was included in the national touring exhibition. Collaborating with master printers, the quilt makers recently made etchings of their work with an innovative technique devised to make a transfer from an actual small-scaled, sampler quilt to an etching plate coated with a thin layer of wax, then treated with acid to create the printable image.

    Original quilts by the late Allie Pettway, Housetop Blocks, 2007 and Housetops w/ 19 patch, 2007, both gifts of Janet Porter and James O’Sullivan, can be viewed in the Dana 1A Human Resources/Occupational Health Wait.

    "We never thought our quilts was artwork, we never heard about a quilt hanging on a wall in a museum. Everybody went to talking about our quilts and everybody wanted to meet us and see us and that's what happened." Arlonzia Pettway

    Visual Impressions I, 2002
    Chakaia Booker

    Visual Impressions I, 2002
    Rives BFK paper & modified dark brown etching ink
    44 x 30 inches

    Internationally acclaimed artist, Chakaia Booker creates powerful sculptures and works on paper from discarded truck, car and bicycle tires. She employs these forms to comment on themes ranging from black identity to urban ecology. The hardiness and adaptability of the tires represent, according to Booker, "the survival of the Africans in the diaspora." In the black color of the tires she sees African skin, and the patterned treads represent tribal designs. Booker draws upon Louise Nevelson's constructions of found objects, Romare Bearden's energetic collages, and Jacob Lawrence's manipulation of color and composition to form her own vigorous sculptures.

    Booker received a BA in sociology from Rutgers University in 1976 and a MFA from the City College of New York in 1993. She gained international acclaim at the 2000 Whitney Biennial with It’s So Hard to Be Green (2000), a 12.5 x 21’ wall-hung tire sculpture. Booker received the Pollock-Krasner Grant in 2002 and a Guggenheim Fellowship in 2005. She has exhibited in group and solo exhibitions nationally and internationally.

    To learn more about African American artists and art depicting their unique cultural heritage, visit the Friends Art Program website.

    Thread Leaf Maple in Winter, 1999
    Mary Louise Pierson

    Thread Leaf Maple in Winter, 1999
    Cibrachrome print
    16.5 x 21 inches
    Gift of the artist

    Mary Louise Pierson is the granddaughter of Nelson A. Rockefeller. A painter and photographer, she earned a BFA from the Rhode Island School of Design. Her work has been represented in numerous shows in New York and Boston, featured in Architectural Digest Magazine, Art & Antiques Magazine, and the New York Post. She is a trustee of the Vermont Studio Center and founder of Youth, Community Gardens, and the Urban Environment in New York City.

    Kykuit, the country home of John D. Rockefeller Sr., John D. Rockefeller Jr., Nelson A. Rockefeller, and their families, stands majestically atop a hill overlooking the Hudson River. Built between 1906 and 1913 by architects Delano and Aldrich, it was just recently opened to the public. But visitors will never see the estate in as intimate a way as it is presented in ML’s work. To preserve the memory of what Kykuit was like when it was a private home, Mary Louise Pierson spent years photographing the estate, its noteworthy collection of sculpture and its magnificent grounds.

    A series of her photographs of Kykuit can be viewed in the Levine Family Central Registration-Yawkey 2.

    Le Bouquet Rouge, 1969
    Françoise Gilot

    Le Bouquet Rouge, 1969
    Color lithograph in five colors on Arches paper
    37 ¾ x 31 inches
    Printed at Mourlot Graphics, Ltd., New York
    Gift of the artist

    Born November 26, 1921 in Neilly-sur-Seine, Françoise Gilotis a French painter, critic and best-selling author. At the age of 21, she embarked on a decade long relationship with Pablo Picasso, "…a catastrophe I didn't want to avoid." Gilot is considered by some to have been his muse, and though her work during that time was influenced by Picasso's Cubism, her paintings are characterized by a preference for organic forms rather than Picasso's use of sharp angles.

    Gilot's commitment to art predated her encounter with Picasso, and continued after she left him in 1953. She married American vaccine pioneer Dr. Jonas Salk in 1970. During their 25-year marriage, she maintained studios in La Jolla, New York, and Paris as her career thrived. Now 95, Gilot spoke with Anthony Mason about her life as an artist and partner to one of the most famous and controversial painters in history. The recently released video, Francoise Gilot Is Still Painting at 95 can be viewed at

    Le Bouquet Rouge, 1969

    This five-color lithograph is an example of Gilot's abstractions that stimulate the onlooker towards new insights and perceptions. The structured composition features saturated color, incorporating a dominant cadmium red. A sense of dimension and space is achieved through color as light, rather than through detail. Le Bouquet Rouge can be viewed in the Yawkey Center for Cancer Care.

    Incarnate, 2016 (left) Incarnate, 2016 detail
    Imi Hwangbo

    Incarnate, 2016 (left)
    Incarnate, 2016 detail
    Archival colored pencil & cut paper
    31 x 23 x 2.5 inches
    Incarnate detail
    Watch a video.

    Imi Hwangbo's current body of work consists of three-dimensional drawings based on the imagery and symbolism of Korean decorative arts, the patterns and vibrant colors of 19th century Korean pojagi. Used for wrapping, carrying, or covering objects, pojagi are often decorated with geometric patterns and floral motifs. The significant patterns and colors recall a tradition of folk beliefs in a living and powerful landscape.

    Each artwork in Hwangbo’s Oracle Series combines a line drawing of a floating field of flowers with a sculpted negative space within each flower. The rarefied empty space within each flower suggests the sacredness of all the space we inhabit. Chrysanthemum blossoms in Korean iconography symbolize joy.

    The artist developed a process of layering prints so that sculptural forms are created. Printed in translucent mylar, the pieces have the sheen and transparency of silk. The artist cuts as many as 30 layers by hand, producing elaborate patterns by removing negative, interior, and visible and invisible form.

    Imi Hwangbo received a BA in Studio Art from Dartmouth College and a MFA in Sculpture from Stanford University. She is the recipient of numerous artist fellowships, and her work in constructed drawing has been exhibited throughout the country. Hwangbo is a professor of art at the University of Georgia.

    Incarnate can be viewed in the new Leonard P. Zakim Center for Integrative Therapies and Healthy Living, Shields Warren 1.

    "We are so pleased to have worked with the Art Committee in creating the 'feel' of the new Leonard P. Zakim Center for Integrative Therapies and Healthy Living." Continues Jennifer Ligibel, MD, Director of the Zakim Center, "Through the art work that the committee selected, we were able to bring an atmosphere of tranquility and healing to the space that will help our patients be able to truly focus on healing and wellness."

    Landscape 30-9, 2009
    Lianghong Feng

    Landscape 30-9, 2009
    Acrylic on canvas
    54 x 68 inches

    Born in Shanghai, China in 1962, Lianghong Feng produces lush abstract paintings inspired by ancient Chinese philosophy, calligraphy, Eastern and Western art history, and urban graffiti. He often begins with a naturalistic landscape, which he then partially obscures with an overlay of abstract marks - broad brushstrokes, scribbles, drips, and splatters.

    Lianghong Feng defies categorizations of his work, a Zen-like position that acknowledges a natural inclination to define works of art in concrete terms, while also embracing the freedom to approach his practice with originality and without preconditions.

    Considered one of China's leading contemporary voices in Abstract Expressionism, Feng’s works are included in prestigious collections and international and museum exhibitions including Brot Hulger Kunstalle, Vienna; Beijing World Art Museum, Today Art Museum, Yonghe Art Museum and Yuan Art Museum, Beijing; and Perdue University, Indiana, among others.

    Landscape can be viewed in the Charles A. Dana Building, main lobby.

    Wavehill Dogwood, 2009
    Andrew Millner

    Wavehill Dogwood, 2009
    Lightjet print mounted to Plexiglass
    Edition of 15
    46 x 72 inches
    Gift of Geri Gerson

    Andrew Millner American, (1967 - ) is a visual artist based in St. Louis, Missouri. He graduated from the University of Michigan, Ann Arbor with a BFA in Painting and Sculpture in 1989. His work is included in the collections of the Museum of Fine Arts Boston, St. Louis Art Museum, Cleveland Clinic, Bank of America, Fidelity Investments and Microsoft Corporation among others and has been represented in numerous group and solo exhibitions throughout the country.

    In celebrating the "2009 Year of the Trees," artists were invited to create drawings and paintings based on trees in the collection of Wave Hill, a 28-acre public garden and cultural center in the Bronx overlooking the Hudson River and Palisades. Millner's Wavehill Dogwood (40멓’ 54.5”N, 73º 54’ 45.3”W), the drawing of a venerable Kousa dogwood that can be seen through the window of the gallery, was created for this event.

    Millner works with hundreds of photographs, drawing the individual leaves of his tree imagery from different perspectives, combining and compressing a myriad of individual drawings into a stunning work. The drawings themselves only exist on the computer, but the final product, a light jet print, is a unique combination of drawing and photography.

    Millner’s reference is "Cliché Verre," the first and most basic photograph created in the 1850s, also referred to as "negative drawing."

    From There to Here, 2011
    Heidi Whitman

    From There to Here, 2011
    Ink, gouache, acrylic, paper, cast shadows
    32 x 48 x 3 inches
    Gift of Friends of Dana-Farber

    Heidi Whitman is a graduate of the University of California at Berkeley and the School of the Museum of Fine Arts in Boston where she received a Clarissa Bartlett Traveling Scholarship for Alumni and a Faculty Enrichment Grant. Her paper constructions represent both imagined terrains and mental maps. "In my reimagined places, shape and shadow interact invoking memory, presence, and absence."

    From There to Here illustrates the artist's technique of hand-cutting intricate shapes from drawings in ink, gouache, and acrylic to create a matrix of roads resembling a modern city grid, simultaneously alluding to the complex processes of the mind. Evocative of spaces both seen and unseen, this paper construction directs us into the intangible landscape of shadows cast by the floating shapes. The intriguing effect is a realm that is neither here nor there, simultaneously solid and tenuous, real and imagined, finite and immeasurable.

    Whitman has exhibited internationally at TAG Fine Arts in London, Kemper Museum of Contemporary Art, Kansas City; Scope Miami; The Christopher Henry Gallery, New York; Pierogi, Brooklyn, NY; Harvard College; Wheaton College; Clark University; Simmons College; and the McMullen Museum of Art. Her work is included in many private and public collections including a recently completed public commission for the City of Cambridge at Jill Brown-Rhone Park. She is currently a faculty member at the School of the Museum of Fine Arts and maintains a studio in Boston's South End.

    From There to Here, 2011 is located in the Longwood Center. Two additional works, Lost City of H, 2015 and From Here to There, 2011 can be viewed in the Charles Dana Building. Both are gifts of the Friends of Dana-Farber Cancer Institute.

    Sow Melon, 2007
    Cheryl Warrick

    Sow Melon, 2007
    Acrylic and mixed media on panel
    24 x 24 inches
    Gift of Friends of Dana-Farber

    Boston-based painter best known for her richly colored and quilt-like paintings that explore the journey of wisdom, Cheryl Warrick incorporates folk wisdom, proverbs, symbols, and landscapes into her art, asking the viewer to open doors to find visual relationships in the paintings and quietly discover their meaning.

    In Warrick's acrylic and mixed media Wisdom Series, she unites quilt-like fashion paintings-within-a-painting, each drawing upon one of the many visual traditions in which she participates - Western landscape painting, African pattern making, and American quilts.

    Warrick's work can be found in numerous museum and corporate collections including The Boston Public Library and Museum of Fine Arts, Boston; Philadelphia Free Library; Rhode Island School of Design Museum of Art; Rose Art Museum, Waltham, MA; Harpo Productions, Chicago; and Fidelity Investments, Boston.

    Sow Melon is located on Yawkey 7.

    Carmen Imperial by Gonzalo Fuenmayor

    Gonzalo Fuenmayor
    Carmen Imperial, 2013
    Charcoal on paper
    Gift of Friends of Dana-Farber Cancer Institute

    Columbian born Gonzalo Fuenmayor combines familiar symbols of Latin America with those of Europe, melding jungle flora and fauna with ornate decorative objects. Unexpected combinations reference the cultural clash between the two regions and “magical realism”- a blend of the fantastic and the mundane.

    In Carmen Imperial, a towering headdress features a mythical pairing of opulent flowers and fruit, tropical birds and a crustacean. Carmen Miranda, the exuberant Brazilian entertainer, is the inspiration for this remarkable charcoal drawing.

    In 2004, Fuenmayor earned a BFA from the School of Visual Arts, New York and a MFA from the School of the Museum of Fine Arts, Boston (SMFA). He has exhibited throughout North and South America, and is the recipient of numerous awards including the SMFA’s prestigious Traveling Fellowship. Gonzalo Fuenmayor: Tropical Mythologies, the artist’s recent solo exhibition at the Museum of Fine Arts in Boston, was a compilation of work completed during his fellowship.

    Carmen Imperial can be viewed in the Longwood Center.

    Conductor Composer

    Anne Lilly
    Conductor/Composer, 2016
    Stainless steel, motor, battery and electronics
    38”h x 38”l x 38”d
    Gift of Jane B. Mayer & Robert J. Mayer, MD

    Kinetic sculptor Anne Lilly uses carefully engineered motion to shift and manipulate our perceptions of time, place and self, and her precisely constructed sculptures move in organic, fluid and mesmeric ways.

    Lilly holds a Bachelor of Architecture from Virginia Tech, and has taught at Massachusetts Institute of Technology (MIT) and Massachusetts College of Art. She received the Barnett and Analee Newman Foundation Grant Award for Lifetime Achievement, the Blanche E. Colman Grant, visiting artist positions at the Isabella Stuart Gardner Museum, MIT, and the Art Institute of Boston. Her work was included in the landmark 14-month exhibition of kinetic art at the MIT Museum, and her work is included in the collections of the DeCordova Museum, the New Britain Museum of American Art, the Middlebury College Museum of Art, and numerous corporate and private collectors internationally.

  • Conductor/Composer, 2016

  • Conductor/Composer was the culminating work in a series of pieces that investigated the movement of many linear elements stacked in parallel vertical layers. This intriguing sculpture, fabricated in machined stainless steel, is an exploration of the question of how to support the circle with only one spoke that does not reach the center of the circle. This configuration requires careful counterbalancing and creates significant visual asymmetry and irregular movement. The circles independently bob and float with unusual buoyancy and changing speeds.

    The title refers to friends of the artist who purchased the first of the edition of this work. The husband is the conductor of a local symphony, and the wife is a musician, music teacher and composer. Ms. Lilly felt that the sculpture’s motion corresponded meaningfully with thoughts about music, also with the idea of two lives mutually dedicated to music.

    For additional information, contact Elaine Tinetti, Art Program Administrator at 617-632-4458 or

  • In-Between Colors, 2015

    In-Between Colors

    Spencer Finch (American 1962-…)
    In-Between Colors, 2015
    Color aquatints
    13 x 12.25” each
    Edition 11/20
    Gift of the Friends of Dana-Farber Cancer Institute

    Spencer Finch (American 1962-…) Born in New Haven, Connecticut, Finch lives and works in Brooklyn. He received a degree in comparative literature from Hamilton College and a MFA from the Rhode Island School of Design.

    Finch’s work has been featured in solo exhibitions internationally, and included in the collections of the High Museum of Art, Atlanta; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; the Museum für Moderne Kunst, Frankfurt am Main; the Whitney Museum of American Art, New York and others.

    In June 2009, the artist’s work was exhibited at the International Venice Biennale in the featured Fare Mondi/Making Worlds show. More recently, Finch was commissioned to create a permanent installation for the September 11 Memorial and Museum. This extraordinary artwork, Trying to Remember the Color of the Sky on That September Morning, commemorates the victims of the 2001 attacks and the World Trade Center bombing.

    In-Between Colors

    In his renderings of light and color, Finch unites scientific method with a poetic sensibility. While his works appear abstract, they are, in fact, representational. In-Between Colors is the result of a collaboration between the artist and Paulson Bott Press.

    "On the first day in the studio, the artist responded to a sample step-etch diagram that PBP created to exemplify etches based on the length of time in the acid bath. He recognized that the plates could directly associate color with time and decided that he would make a set of images like the diagram. He then chose five colors from the spectrum and layered plates in two colors to create grids that visually described the various combinations of color and density.

    "The titles: Yellowish-Orange, Orangish-Red, Reddish-Violet, Violetish-Blue, Bluish-Green and Greenish-Yellow speak to the idea of trying to describe a color, that which is most often subjective and elusive." Rhea Fontaine, Paulson Bott Press

    This beautiful portfolio of six color aquatints is located on Dana 16.

    Other Works by Spencer Finch in the Dana-Farber Collection

    Summer Light and Winter Light (Emily Dickenson’s Garden), 2010 were commissioned for the Yawkey Center for Cancer Care and made possible by a generous donation from the Andrea Abraham Fund. Each light box re-creates the light in Emily Dickinson's garden in Amherst, Massachusetts-one in summer (YC1), the other in winter (YC2), and the colors used to generate the specific light conditions were taken from observations of the garden throughout the two seasons.

    Open Cube in Color on Color, 2004

    Open Cube in Color on Color

    © 2016 The LeWitt Estate / Artists Rights Society (ARS), New York

    Sol LeWitt (American 1928 – 2007)
    Open Cube in Color on Color, 2004
    Set of thirty linoleum cut prints
    14 x 14 inches each
    Gift of Marvin Goldenberg, Heidi & Jill Pearlman
    In honor of Doris Pearlman Goldenberg

    Sol LeWitt is considered one of the most important artists to have emerged from the Minimal and Conceptual art movements. After earning a BFA from Syracuse University in 1949, he worked for I. M. Pei as an architectural draftsman. Working with architects not only influenced LeWitt’s ideas concerning geometric precision and the viewer’s relationship to art, but also taught him that as an artist he could collaborate with others to realize his vision.

    LeWitt was originally associated with the Minimalist art movement due to his extensive use of geometric forms, namely the identical cubes in serial configurations that would become a signature form. He later became so closely associated with the Conceptual art movement that he is often called “the father of Conceptual Art.” As LeWitt stated in 1967, “In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair.” Similar to the relationship between an architect and a construction crew, LeWitt espoused that an artist should be able to conceive a work and then delegate its actual production to others.

    Known for his sculpture, wall drawings, and works on paper, LeWitt’s work is included in the collections of many major museums including Tate Modern, London; Guggenheim Museum and Museum of Modern Art, New York; and the National Gallery of Art, Washington, D.C.

    In Open Cube in Color on Color, each of the cubes is outlined in rich primary colors, which switch back and forth from foreground to background. The dynamic whole is held together by the basic outline of the thirty cubes. This beautiful series is located in the Charles A. Dana Building at Dana-Farber Cancer Institute.

    BB 10/19/09-90649 (Big Bambú)

    BB 10/19/09-90649  (Big Bambu)

    Doug and Mike Starn
    BB 10/19/09-90649 (Big Bambú)
    Color photograph
    48 x 48 inches
    Epson K3 Ultrachrome inkjet print on gelatin-coated Zerkall paper
    Location: Longwood Center, research space

    Identical twins, Doug and Mike Starn (American,1961- ...) graduated from the School of the Museum of Fine Arts in 1985 and only two years later received international attention at the 1987 Whitney Biennial. For nearly two decades, the Starn twins have been known for their conceptual work with photography that combines traditionally independent disciplines such as sculpture and architecture, most notably their Big Bambú series.

    Big Bambú project
    The Starn twins and their crew of rock climbers lashed together more than 7,000 bamboo poles, a performative architecture forming a section of seascape with a 70’ cresting wave above Central Park. Big Bambú suggests the complexity and energy of an ever-growing and changing living organism.

    Other iterations have been exhibited in prominent locations including the Naoshima Museum Setouchi Triennial in Japan and the Musei Macro Testaccio in Rome, as part of the 54th Venice Biennal.

    BB 10/19/09-90649  (Big Bambu)
    As a continuation of this project, the Starns made a series of photographs in their iconic style that were then taped and pinned together in a frame. The hand manipulation of these photographs is consistent with the style of photography for which they have become famous. One of these photographs, BB 10/19/09-90649, now resides within Dana-Farber space in the Longwood Center.