Advance Schedule of Exhibitions for MoMA & MoMA PS1
Please note that exhibitions are subject to change.
Click here for a list of our touring or off-site exhibitions.
Check the Press Release Archives for past exhibitions.
October 2018 – January 2019
Floor Six, Exhibition Galleries
The Museum of Modern Art and Schaulager, Basel, announce their collaboration on a full retrospective devoted to the work of American artist Bruce Nauman (b. 1941). Opening at Schaulager in March 2018 and traveling to The Museum of Modern Art in October of that year, the exhibition will be the first comprehensive retrospective of the artist’s work across all mediums in over 20 years, and will build upon the rich holdings of the two organizing institutions. Covering his entire career, from the earliest fully realized sculptures of 1965 to his most recent work, the exhibition will provide an opportunity to experience Nauman’s command of a wide range of mediums, from drawing, printmaking, photography, and neon, to performance, video, film, sculpture, and large-scale installations—including Days (2009), a 14-channel sound installation for which Nauman won the Golden Lion for Best National Participation at the Venice Biennial in 2009.
Organized by The Museum of Modern Art, New York, and Laurenz Foundation, Schaulager, Basel.
The exhibition is organized by Kathy Halbreich, Associate Director and Laurenz Foundation Curator, The Museum of Modern Art, New York, with Heidi Naef, Senior Curator, Schaulager, Basel, and Isabel Friedli, Curator, Schaulager, Basel, Magnus Schaefer, Assistant Curator, and Taylor Walsh, Curatorial Assistant, Department of Drawings and Prints, The Museum of Modern Art.
The exhibition is made possible by Laurenz Foundation, Schaulager, Basel.
Generous funding is provided by Ellen and William Taubman.
Additional support is provided by the Annual Exhibition Fund.
The Roy and Niuta Titus Theater 2
Building upon the Museum’s eight-decade tradition of fostering cinematic innovation and experimentation, Modern Mondays invites artists working in the expanded field of film, video, performance, and sound to present their work in an intimate setting. A platform for both emerging artists and pioneering figures who have changed the way we think about the moving image, this series premieres new projects and rediscovers landmark works. Considering avant-garde narratives from the 21st century, the program also celebrates legacies of influential historical figures in a contemporary context. Each evening presents a unique opportunity for audiences to engage in dialogue with artists, along with curators and other guests.
An Evening with Jonathas De Andrade
Monday, April 10, 7:00 p.m., T2
Jonathas De Andrade is a contemporary artist based in Recife, the state capital of Brazil’s northeastern region, a city marked by the contrast between its peasant class and rural traditions, on the one hand, and its status as a quickly developing industrial center and film capital on the other. Working with installation, photography, and video, De Andrade explores the multiple experiences of the city, continuously involving the audience in the process of narrative construction. De Andrade, whose The Uprising (O Levante) is included in the exhibition Unfinished Conversations: New Works from the Collection, will join Thomas J. Lax, Associate Curator in the Museum’s Department of Media and Performance Art, for a discussion about recent and upcoming work.
An Evening with Ian Cheng
Monday, April 24, 7:00 p.m, T2
This screening and discussion with Ian Cheng marks the completion of his Emissaries trilogy, recently acquired by MoMA, and on view at MoMA PS1, April 9–September 10, 2017. Emissaries comprises a trio of Cheng’s “live simulations,” animations that explore the evolution of cognition and the ecological conditions that shape it. Composed of three interconnected episodes, Cheng’s trilogy centers on the lives of emissary figures who attempt to enact narrative goals within a simulated ecology, a volcanic landscape that evolves from the ancient past to the distant future. Using video game engines, Cheng produces a non-looping, infinitely generating series of visual combinations with infinite duration and variability. Eschewing the fidelity to photorealistic imagery often prioritized in digital image production, Cheng’s simulations map behavioral movements that unfold in real time and result in an entirely new approach to image making. The screening is followed by a discussion with the artist and a range of speakers, moderated by Stuart Comer, Chief Curator, Department of Media and Performance Art.
An Evening with Molly Lowe
Monday, May 8, 7:00 p.m., T2
Molly Lowe, a New York–based filmmaker, sculptor, painter, and performance artist, presents the theatrical premieres of her recent films Redwood (2016, commissioned by Pioneer Works) and Formed (2013). In Redwood, a sensuous intermingling of sci-fi conjecture and family portraiture, masks and ritualistic movements—like those in Japanese Noh theater and the films of Maya Deren—are a stylized rictus of pleasure, fear, and pain. What endures, Lowe asks, when our bodies age and our minds become a tangle of memory and desire? What do we pass on to our daughters and granddaughters through our genes and through the stories we tell? Formed is a Surrealist grotesquerie involving squishy eggs, Spandex, and a wayward computer mouse; protuberant sticky tongues and cavernous orifices; cries of joy and sadness; and bodies groping, yearning, and pratfalling in the limelight.
Organized by the Department of Film and the Department of Media and Performance Art.
Opens June 26, 2016
This installation brings together a selection of sculptures from the Museum’s collection made in the 1960s, extending to the Sculpture Garden the current organizing principle of the Museum’s fourth-floor collection galleries. Included are David Smith’s Cubi X (1963), an abstract construction of stainless steel geometric forms that evokes the human figure, and Alexander Calder’s Sandy’s Butterfly (1964), a 13-foot-tall colorful steel sculpture with a mobile top that the artist gave to MoMA in 1966. These works join longtime Sculpture Garden inhabitants, such as Barnett Newman’s Broken Obelisk (1967). Favorites like Pablo Picasso’s She Goat (1950) and Aristide Maillol’s The River (1943) will remain on view alongside these works from the 1960s.
October 17, 2016
The Museum of Modern Art announced that it has received a major gift from the Colección Patricia Phelps de Cisneros, which will add more than 100 works of modern art by major artists from Latin America to the Museum’s collection, and establish the Patricia Phelps de Cisneros Research Institute for the Study of Art from Latin America. The Cisneros Institute will be dedicated to an expansive approach to the study and interpretation of modern and contemporary art from Latin America.
The gift includes 102 paintings, sculptures, and works on paper, made between the 1940s and the 1990s by 37 artists working in Brazil, Venezuela, and the Río de la Plata region of Argentina and Uruguay, including Lygia Clark, Hélio Oiticica, Lygia Pape, Jesús Rafael Soto, Alejandro Otero, and Tomás Maldonado. They join 40 works previously given by Patricia and Gustavo Cisneros over the last 16 years; Mrs. Cisneros is a longtime MoMA Trustee and a member of several acquisitions and funding committees, including the Latin American and Caribbean Fund, of which she is chairman and founder.
The Cisneros Institute, to be located on MoMA’s Midtown Manhattan campus, will offer opportunities for curatorial research and travel, host visiting scholars and artists, convene an annual international conference, and produce research publications on art from Latin America. It is poised to become the preeminent research center in the field, building on MoMA’s history of collecting, exhibiting, and studying the art and artists of the region, dating back to 1931. Today, MoMA’s collection includes more than 5,000 works by artists from Latin America.
The breadth of this gift is unprecedented, and the accompanying research initiative devoted to the study of the works and their integration into the overall narrative of modern art will greatly enrich MoMA’s collection and scholarly activities. As an integral program of The Museum of Modern Art, the Cisneros Institute represents a singular commitment to the region, and will foster intensive research on and engagement with the region’s art and artists.
For more information and a full list of works, please visit: www.moma.org/collection/works/groups/cisneros
Images of MoMA PS1’s building are located through Press Access.
MoMA PS1’s acclaimed VW Sunday Sessions program welcomes visitors to experience art live and in real time. Embracing performance, music, dance, conversations, and moving images the program vividly demonstrates how these art forms can push us to engage with our contemporary world in creative, illuminating ways. With an emphasis on artistic practices that blur and break traditional genre boundaries, the program supports and commissions new work, inviting artists, curators, and other cultural instigators to share their latest projects.
Additional information on upcoming VW Sunday Sessions can be found here.
VW Sunday Sessions is organized by Jenny Schlenzka, Associate Curator with Alex Sloane, Curatorial Assistant; Taja Cheek, Curatorial Assistant; Rosey Selig-Addiss, Associate Producer; and Lucy Lie, Production Coordinator.
VW Sunday Sessions and the VW Dome at MoMA PS1 are made possible by a partnership with Volkswagen of America, who have supported the program for five years since its inception.
The Alfred H. Barr Painting and Sculpture Galleries feature on the fifth floor roughly span the years 1880 to 1940. Within an overall chronological flow, galleries highlight individual stylistic movements, artists, and themes, including Post-Impressionism, Cubism, the work of Henri Matisse, Claude Monet’s Water Lilies, and Surrealism, among other subjects. An ongoing program of periodic reinstallations allows the curators to present a wide range of artworks in various configurations, reflecting the view that there are countless ways to explore the history of modern art and the Museum’s rich collection.
BRUCE CONNER: IT’S ALL TRUE
Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain
February 21–May 22, 2017
Marcel Broodthaers: A Retrospective
Kunstsammlung Nordrhein-Westfalen (KNW), Düsseldorf, Germany
March 4–June 11, 2017
The Paris of Toulouse-Lautrec: Prints and Posters from the Museum of Modern Art
Chrysler Museum of Art, Norfolk, Virgina
March 10–June 18, 2017
Currier Museum of Art, Manchester, New Hampshire
September 30–April 9, 2017
Tate Modern, London, England
November 30, 2016–April 9, 2017
The San Francisco Museum of Modern Art, San Francisco, California
November 4, 2017–March 25, 2018
Masterworks from MoMA
National Gallery of Victoria, Melbourne, Australia
June 8–October 7, 2018
With its international partnerships, Young Architects Program (YAP) offers selected young designers and architects across the globe the opportunity to create designs that promote diverse uses such as rest, play, and relaxation as well as hosting a series of live events such as shows, music, dance, exhibitions, and performances. In addition architects are encouraged to address environmental issues, including sustainability and recycling, to create highly innovative projects that provide shade, seating, and water. To achieve these goals, MoMA and MoMA PS1 are currently partnering with the National Museum of XXI Century Arts (MAXXI) in Rome, CONSTRUCTO in Chile, and Istanbul Modern in Turkey (on a biennial cycle).
In May 2014, The Museum of Modern Art, MoMA PS1, and the National Museum of Modern and Contemporary Art (MMCA) in Seoul announced a new partnership that further expands the international YAP to South Korea. YAP Korea provides opportunities for emerging architects in South Korea to create temporary exterior installations for summer programming at the MMCA.
A dedicated YAP International website, MoMA.org/yap, features the selected proposals and designs from the winner of YAP International. The website also includes an archive of past MoMA/MoMA PS1 YAP finalists and winning proposals, interviews with the curators, and installation videos.
March 26, 2016–March 12, 2017
The Alfred H. Barr, Jr. Painting and Sculpture Galleries, fourth floor
With From the Collection: 1960–1969, The Museum of Modern Art reinstalls its fourth-floor collection galleries with works from all six of its curatorial departments, along with work from the MoMA Library and archives collection. The presentation is organized through the lens of the 1960s, when interdisciplinary artistic experimentation flourished and traditional mediums were radically transformed. Artistic change paralleled sociopolitical upheaval around the globe, and these seismic shifts reach to the present moment. The galleries feature works across mediums, including paintings, sculptures, drawings, prints, photographs, architecture, design objects, videos, films, and archival materials. The presentation will undergo periodic reinstallations over the course of the year, reflecting the depth and richness of the Museum’s collection and the view that there are countless ways to explore the history of modern art.
The installation includes a range of works from the 1960s, including a Jaguar E-Type Roadster (1961), a selection from Bela Kolárová’s photographic body of work Radiogram of Circle (1962–63), Nam June Paik’s Zen for TV (1963), James Rosenquist’s F-111 (1964–65), Jo Baer’s Primary Light Group: Red, Green, Blue (1964-65), Robert Smithson’s drawing A Heap of Language (1966), Bonnie Maclean’s poster for the Yardbirds and the Doors (1967), Eva Hesse’s Repetition Nineteen (1968), a group of works related to Superstudio’s The Continuous Monument: New York Extrusion Project, New York, New York (1969), and Nalini Malani’s film Dream Houses (1969), among many others.
Each gallery is dedicated to works from a single year, and the galleries proceed in chronological order. This approach provides a framework for displaying a wide-ranging selection of objects from the Museum’s collection, offering visitors a rare opportunity to see an automobile in proximity to an oil painting, an etching juxtaposed with an architectural model, or a film alongside a sculpture. The organizational principles vary throughout: some galleries explore the potential of unexpected connections across mediums and genres while others gather works that are similar in materials or function.