Angeles to Hope, Idaho, and for the next twenty years they divided their time between Berlin and Idaho. In 1976 he received a Guggenheim Fellowship. In 1977 he opened "The Faith and Charity in Hope Gallery" at their Idaho studio, and showed both established and emerging artists, including Francis Bacon, Jasper Johns, Peter Shelton, and Robert Helm. The Keinholzs continued to produce their own new installations and sculptures for exhibition. Death Edward Kienholz died suddenly in Idaho on June 10, 1994, from a heart attack after hiking in the mountains near their home. He was a chronic smoker who had been struggling with diabetes, which progressively impaired use of his extremities. He was buried in an authentic Kienholz installation; Robert Hughes wrote, "[H]is corpulent, embalmed body was wedged into the front seat of a brown 1940 Packard coupe. There was a dollar and a deck of cards in his pocket, a bottle of 1931 Chianti beside him and the ashes of his dog Smash in the back. He was set for the afterlife. To the whine of bagpipes, the Packard, steered by his widow Nancy Reddin Kienholz, rolled like a funeral barge into the big hole." After Edward's death, Nancy Reddin Kienholz continued to administer their joint artistic estate, organizing shows and exhibitions, until her own death in 2019. Exhibitions Retrospectives of Kienholz's work have been infrequent, due to the difficulty and expense of assembling fragile, literally room-sized sculptures and installations from widely dispersed collections around the world. Kienholz work has often been difficult to view, both because of its subject matter, and the logistics of displaying it. Relatively few of the major works had been on display in the US, the Kienholzes' native land, though American museums have now started to feature their work more prominently, especially after a major retrospective (posthumous) exhibition in 1996 at the Whitney Museum of American Art. The Bowers Museum (Santa Ana, California), the Dayton Art Institute, the Honolulu Museum of Art, the National Gallery of Art (Washington, DC), the Oakland Museum of California, the San Francisco Museum of Modern Art, the Smithsonian American Art Museum, the University of Arizona Museum of Art, Los Angeles County Museum of Art (LACMA), the Weisman Art Museum at the University of Minnesota, Minneapolis, and the Whitney Museum of American Art (New York) are among the public collections holding work by Kienholz. The diverse and freely improvised materials