Twenty Twenty, is not only a year, but also a term that describes meeting a standard of visual acuity. Embedded in it’s meaning is its opposite: a lack of proper focus and perceptual distortion. As the 2020 US election looms, the majority of Americans are bracing for a year of both tough political posturing and an over-stimulating media environment. Most agree that the stakes of the 2020 election are high, and the issues that central to the debate will affect the county for a generation and beyond. With digital media shortening the news cycle to seconds, it would seem an impossibility for the slow and reflective media of drawing to add to the political and social dialogue that the election year will engender. Twenty Twenty is an exhibition of works on paper rolled out sequentially over the course of seven months that gives a platform to seven artists who make drawings based on photographic imagery. The exhibition asks the question can a ‘slow’ museum exhibition actively participate in democracy amidst the cacophony of Tweets and abbreviated news app headlines via a medium that moves no faster than the speed of the human hand pushing a pencil? What can the laborious, hand-production of images add to visual culture when digital screen refresh rates are less than a millisecond? The answer lies in intent and the nature of specific media: images on Instagram, the most ubiquitous image-relaying platform, are mostly posted for attention rather than conveying serious information, and the ease and frequency of uploading on the networking service does not promote sustained thoughtfulness. An image created by hand on paper suggests deliberation and perhaps more importantly, responsibility. Artists participating in the exhibition include Marti Cormand, Oasa DuVerney , Judith Eisler, Andy Mister, William Powhida, Gil Scullion, and Diana Shpungin. The exhibition will be accompanied by a publication that will take the form of a multi-editioned newspaper published over the course of the election season. Twenty Twenty is being organized by Richard Klein, The Aldrich’s Exhibition Director.