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.

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Sascha Braunig: Shivers

October 23, 2016–March 12, 2017


With more than twenty works made over the last five years, Shivers showcases Braunig’s unique approach to the studio portrait. Beginning with meticulously rendered paintings of fantastical sculptural constructions, the artist has deployed a range of pictorial techniques to depict bodies under duress. The figures in her work are compressed by their environments, stretched and twisted across armatures, and often overwhelmed by their surroundings. Some are irradiated by industrial light, sutured into uncomfortable hybrids, and hollowed out. Drawing inspiration from the distorted bodies that litter the histories of modern painting, Braunig adapts these legacies to the discomforts and instabilities of contemporary life. In more recent works, her figures seem to turn on themselves, testing their own limits and those of the settings that confine them. While evocatively dystopic, her paintings also subtly empower their vulnerable subjects, advocating a humanist art for an age in which individual experience seems threatened by forces beyond our control.

Sascha Braunig: Shivers is organized by Peter Eleey, Chief Curator, MoMA PS1.

The exhibition is supported by the Ava Olivia Knoll Fund and The Tom Slaughter Emerging Artists Endowment Fund.

Additional funding is provided by the MoMA PS1 Annual Exhibition Fund.


Mark Leckey: Containers and Their Drivers

October 23, 2016–March 05, 2017


MoMA PS1 presents the first comprehensive survey of the pioneering British artist Mark Leckey in the United States, and the largest exhibition of his work to date. Since coming to prominence in the late 1990s, his dynamic and varied practice has helped give form to the transition from analog to digital culture, and powerfully influenced younger generations of artists. Occupying two floors of MoMA PS1, the exhibition will bring together major bodies of Leckey’s art, including a broad array of video works and sculptural installations alongside new pieces made specifically for the exhibition. Among the highlights will be Leckey’s breakthrough film Fiorucci Made Me Hardcore (1999), which uses sampled footage to trace dance subcultures in British nightclubs from the 1970s to 1990s; a selection of the artist’s Sound System sculptures (2001-2012), functioning stacks of audio speakers that recall those used in street music parties in London; his pedagogical lecture performances; GreenScreenRefrigeratorAction (2010), a video and installation that consider “smart” objects and our increasingly technological environment; a significant installation UniAddDumThs(2014), which Leckey created as a “copy” of a touring exhibition, The Universal Addressability of Dumb Things, that he had curated the year before; and an expanded presentation of works relating to his recent autobiographical film Dream English Kid 1964–1999 AD (2015).

Mark Leckey: Containers and Their Drivers is co-organized by Peter Eleey, Curator and Associate Director of Exhibitions and Programs, MoMA PS1; and Stuart Comer, Chief Curator, Department of Media and Performance Art, The Museum of Modern Art.

Mark Leckey (b. 1964, United Kingdom) was awarded the Turner Prize in 2008 and has been the subject of numerous solo exhibitions at institutions including Haus der Kunst, Munich, Germany (2015); WIELS Contemporary Art Centre, Brussels, Belgium (2014); the Hammer Museum, Los Angeles (2013); Nottingham Contemporary, Nottingham, UK (2013); Banff Centre, Banff, Canada (2012); and the Serpentine Gallery, London, UK, (2011). He has participated in the Carnegie International (2013), the 55th Venice Biennale (2013), and the 8th Gwangju Biennial (2010). Leckey lives and works in London.


The exhibition is made possible by The Andy Warhol Foundation for the Visual Arts and by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.

Major support is provided by The International Council of The Museum of Modern Art, The Contemporary Arts Council of The Museum of Modern Art, The Junior Associates of The Museum of Modern Art and the Maurice Marciano Family Foundation.

Additional funding is provided by the MoMA PS1 Annual Exhibition Fund.


The Shape of Things: Photographs from Robert B. Menschel

October 29, 2016–May 07, 2017

The Paul J. Sachs Galleries, second floor

The Shape of Things: Photographs from Robert B. Menschel presents an engaging survey of The Museum of Modern Art’s multifaceted collection of photography. Borrowing its title from the eponymous work by Carrie Mae Weems, the exhibition is drawn entirely from works acquired over the past 40 years with the support of Robert B. Menschel, telling the story of photography from its beginnings.

Covering more than 150 years of photography—from an 1843 view of Paris by William Henry Fox Talbot, the English father of photography, to An-My Lê’s depictions of US military exercises in preparation for war in Iraq and Afghanistan—the exhibition underscores an equal attention to the past and the present, and a strong belief that they complement each other; and that each generation reinvents photography. Since Menschel joined the Committee on Photography at MoMA in 1977, over 500 works have entered the collection through his support, including 162 photographs he recently donated from his personal collection.

Organized by Quentin Bajac, the Joel and Anne Ehrenkranz Chief Curator of Photography, with Katerina Stathopoulou, Curatorial Assistant, Department of Photography, MoMA.

The exhibition is supported by the Annual Exhibition Fund.


Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction

November 21, 2016–March 19, 2017

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

Press Preview: Tuesday, November 15, 9:30-11:30 a.m.

Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction is the first major exhibition in the U.S. to encompass the full range of Picabia’s audacious, provocative, and profoundly influential career. MoMA’s first-ever monographic exhibition of the artist, Francis Picabia brings together some 200 works in multiple mediums to explore the artist’s critical place in the history of 20th-century art.

Among the great modern artists, Francis Picabia (French, 1879–1953) remains one of the most elusive; he vigorously avoided any one singular style or medium, and his work encompassed painting, performance, poetry, publishing, and film. Though he is best known as one of the leaders of the Dada movement, his career ranged widely—and wildly—from Impressionism to radical abstraction, from Dadaist provocation to pseudo-classicism, and from photo-based realism to art informel. Picabia’s contributions to a diverse range of artistic mediums, along with his consistent inconsistencies, make him especially relevant for contemporary artists, and his career as a whole challenges familiar narratives of modernism.

Francis Picabia—conceived in partnership with the Kunsthaus Zürich, where its presentation is scheduled to coincide with the 100th anniversary of the founding of the Cabaret Voltaire, in 1916—assembles key selections and bodies of work, ranging in date from the first decade of the 20th century through the early 1950s. Picabia’s work as a painter—albeit one whose oeuvre consistently contests the term—will be represented, along with his activities as a publisher and contributor to vanguard journals, and his forays into screenwriting and theater. The core of the exhibition comprises some 125 paintings, along with approximately 45 key works on paper, one film, and a carefully chosen selection of printed matter.

Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction is organized by The Museum of Modern Art, New York, and the Kunsthaus Zürich.

Organized by Anne Umland, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture, The Museum of Modern Art, and Cathérine Hug, Curator, Kunsthaus Zürich; with Talia Kwartler, Curatorial Assistant, Department of Painting and Sculpture, MoMA.

Major support for the New York presentation is provided by The International Council of The Museum of Modern Art.

Generous funding is provided by Lawrence B. Benenson.

This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Paint provided by Farrow & Ball.

Additional support is provided by the Annual Exhibition Fund.

Josef Albers (American, born Germany 1888-1976). Marli Heimann, All During an Hour. 1931/1932. Gelatin silver prints mounted to board, 11 11/16 x 16 7/16" (29.7 x 41.8 cm) overall. The Museum of Modern Art, New York. Gift of The Josef and Anni Albers Foundation. © 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York. Photo: John Wronn

One and One Is Four: The Bauhaus Photocollages of Josef Albers

November 23, 2016–April 02, 2017

Floor 5

Josef Albers (American, born Germany, 1888–1976) is a central figure in 20th-century art, both as a practitioner and as a teacher at the Bauhaus, Black Mountain College, and Yale University. Best known for his iconic series Homages to the Square, Albers made paintings, drawings, and prints and designed furniture and typography. The least familiar aspect of his extraordinary career is his inventive engagement with photography, which was only discovered after his death. The highlight of this work is undoubtedly the photocollages featuring photographs he made at the Bauhaus between 1928 and 1932. At once expansive and restrained, this remarkable body of work anticipates concerns that Albers would pursue throughout his career: seriality, perception, and the relationship between handcraft and mechanical production.

The first serious exploration of Albers’s photographic practice occurred in a modest exhibition at MoMA in 1988, The Photographs of Josef Albers. In 2015, the Museum acquired 10 photocollages by Albers—adding to the two donated by the Josef and Anni Albers Foundation almost three decades ago—making its collection the most significant anywhere outside the Foundation. This installation celebrates both this landmark acquisition and the publication of One and One Is Four: The Bauhaus Photocollages of Josef Albers, which focuses exclusively on this deeply personal and inventive aspect of Albers’s work and makes many of these photocollages available for the first time.

Organized by Sarah Hermanson Meister, Curator, with Kristen Gaylord, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography.


A Revolutionary Impulse: The Rise of the Russian Avant-Garde

December 03, 2016–March 12, 2017

South Gallery, third floor

The Museum of Modern Art presents A Revolutionary Impulse: The Rise of the Russian Avant-Garde, an exhibition that brings together 260 works from MoMA’s collection, tracing the arc of a period of artistic innovation between 1912 and 1935. Planned in anticipation of the centennial year of the 1917 Russian Revolution, the exhibition highlights breakthrough developments in the conception of Suprematism and Constructivism, as well as in avant-garde poetry, theater, photography, and film, by such figures as Alexandra Exter, Natalia Goncharova, El Lissitzky, Kazimir Malevich, Vladimir Mayakovsky, Lyubov Popova, Alexandr Rodchenko, Olga Rozanova, Vladimir and Georgii Stenberg, and Dziga Vertov, among others.

The exhibition features a rich cross-section of works across several mediums—opening with displays of pioneering non-objective paintings, prints, and drawings from the years leading up to and immediately following the Revolution, followed by a suite of galleries featuring photography, film, graphic design, and utilitarian objects, a transition that reflects the shift of avant-garde production in the 1920s. Made in response to changing social and political conditions, these works probe and suggest the myriad ways that a revolution can manifest itself in an object.

Organized by Roxana Marcoci, Senior Curator, Department of Photography and Sarah Suzuki, Curator, Department of Drawings and Prints; with Hillary Reder, Curatorial Assistant, Department of Drawings and Prints.

The exhibition is supported by the Annual Exhibition Fund.


Alexandra Bachzetsis’s Massacre: Variations on a Theme

January 17, 2017–January 31, 2017

Donald B. and Catherine C. Marron Atrium

The Museum of Modern Art presents Alexandra Bachzetsis’s Massacre: Variations on a Theme, a new performance commission consisting of a video installation on view during regular Museum hours, and four ticketed live performances on the evenings of January 24, 25, 27, and 28. Comprising choreography for three dancers and a musical composition for two pianos, Bachzetsis’s performance takes the form of a feverish interchange between violent physical movement and excessive mechanical repetition, with a physical and visual vocabulary drawn from a variety of sources, including Tarantism, classic Northern Soul dancing, and Surrealist imagery. Tickets for the performances are $12 and can be purchased on ShowClix beginning December 16. 

The work of Alexandra Bachzetsis (b. 1974) frequently brings together the tropes and gestures of popular culture with ancient rituals and the choreographic language of landmark figures in dance such as Trisha Brown. In Massacre—literally a “ballet mécanique,” with nods to the brutalistic, industrial rhythms and Dada sensibility of Fernand Léger and Dudley Murphy’s landmark 1924 film—three female dancers perform to a live score for two pianos, one of which is an automatic player piano. The performance alternates between the spasmodic gestures of Tarantism, a dancing mania that appeared in medieval Europe and was believed at the time to be caused by the bite of a tarantula; the circular, up-tempo rhythms of Northern Soul dancing; and the tentative, instinctive cavorting typical of primates. Each sequence of movements is transmitted, almost virally, from one performer to the next.

The images, gestures, and sounds that form Massacre also draw on many precedents from Dada and Surrealism—notably representations of the female form within the work of Man Ray, Marcel Duchamp, and Hans Bellmer—as well as a fascination with the formation of gender and sexuality within a culture increasingly shaped by technology.

Massacre: Variations on a Theme is commissioned by The Museum of Modern Art, New York.

Organized at MoMA by Stuart Comer, Chief Curator, with Giampaolo Bianconi, Curatorial Assistant, Department of Media and Performance Art, and produced by Lizzie Gorfaine, Performance Producer, with Kate Scherer, Assistant Performance Coordinator.

Generous funding for the exhibition is provided by The Contemporary Arts Council of The Museum of Modern Art and by The Modern Women’s Fund.

Pianos provided by Yamaha Artist Services, New York.

Additional support is provided by the Annual Exhibition Fund.


Eternal Bruce Lee

January 27, 2017–February 04, 2017

The Roy and Niuta Titus Theaters

Bruce Lee (1940–1973) passed away at the peak of his career, yet decades later he remains a larger-than-life icon of global cinema. The star exhibits an impulsive, instinctual fighting style rarely seen in kung fu films, a genre that typically reveres moralistic masters who embody both bodily and mental discipline. While Lee plays characters motivated by justice and pride (both cultural and national), he often fights with absolute abandon, allowing a primordial spirit to take center stage. In his final film, Enter the Dragon, Lee’s character describes an “emotional content” essential to a martial artist. It is this emotional content that makes him uniquely sensational. The swiftness of his movement, the power of each strike, his breathtaking mastery of the nunchaku (a weapon made of two sticks connected by a chain), his signature high-pitched feline shriek, and his ability to bring men of far more imposing physiques—many of them foreigners—to their knees made him an unusually thrilling performer. His charisma and preternatural physical gifts have garnered many millions of fans around the world, redefining Asian masculinity and empowering those who feel oppressed and marginalized.

Born in San Francisco and raised in Hong Kong, Lee was introduced to showbiz by his father, a Chinese opera and film actor. He appeared in more than 20 films as a child and began martial arts training at the age of 13. Lee returned to the US when he was 18, and studied philosophy and drama at the University of Washington in Seattle, where he began to teach martial arts. Before long he had earned acting roles in film and television, most memorably as Kato on the TV series The Green Hornet. When the series was discontinued, Lee returned to Hong Kong and was approached by legendary producer Raymond Chow to star in The Big Boss (1971) for Golden Harvest. The low-budget film catapulted him to instant stardom, and Hollywood took notice; Enter the Dragon (1973) became the first-ever Hong Kong-Hollywood coproduction. Yet in a tragedy that shocked the entire world, Lee passed away suddenly, a month before the film’s scheduled release, due to a fatal reaction to a pain medication.

This series features all five films Lee starred in at his prime. It includes the North American premieres of new 4k restorations of The Big Boss (1971), Fist of Fury (1972), The Way of the Dragon (1972), and Game of Death (1978). Enter the Dragon (1973) is also featured, in a weeklong run.

Organized by La Frances Hui, Associate Curator, Department of Film. Special thanks to Warner Bros. and Fortune Star.

The exhibition is supported by the Annual Film Fund.


Modern Matinees: Hollywood and the Great Depression, 1933

February 01, 2017–March 31, 2017

The Roy and Niuta Titus Theaters

As the Great Depression hit bottom in 1933, tens of millions of Americans found solace in the movies, where 15 cents bought admission to an infinite range of alternative realities. Some films offered escapism and reassurance, others offered hypothetical solutions to social problems across the political spectrum. Presented in four thematic groupings, the films in this series—all drawn from MoMA’s collection—present a cinematic portrait of 1933, a year when movie make-believe was truly indispensable.

Organized by Anne Morra, Associate Curator, Department of Film.

The exhibition is supported by the Annual Film Fund.


Manfred Kirchheimer

February 03, 2017–February 11, 2017

The Roy and Niuta Titus Theaters

A dyed-in-the-wool indie New York filmmaker, Manfred Kirchheimer (b. 1931) weds the aesthetic exuberance of modernist urban chroniclers like Walt Whitman, Joseph Stella, and Charles Mingus to the leftist populism of Studs Terkel and Jane Jacobs. His documentary (and quasi-fictional) films are intricate montages of sound and image that thrum with hard bop or proto-hip-hop energy. They are fanfares and requiems for New York’s immigrant working class and demimonde, its art and artists, buildings and builders, haves and have nots.

Kirchheimer’s relationship with MoMA goes back more than 50 years. In 1955, he collaborated with the film curator Jay Leyda in reconstituting footage from Sergei Eisenstein’s unfinished ¡Que Viva Mexico! into scholarly study reels. In 1968, his film Claw had its premiere in MoMA’s landmark exhibition The Machine as Seen at the End of the Mechanical Age. Discovery in a Painting (1968/2014), co-produced with his longtime collaborator and friend Leo Hurwitz, is a meditation on a painting in MoMA’s collection, Paul Cézanne’s Still Life with Apples. His Stations of the Elevated (1981), an indelible record of the city in wilder times, was presented at MoMA shortly after it debuted at the 1981 New York Film Festival and then spent three decades awaiting rediscovery. The Museum welcomes Kirchheimer home, then, for a selective, career-spanning retrospective of 13 films, from his rarely screened Colossus on the River (1963) to the world premiere of his latest feature, My Coffee with Jewish Friends (2017).

All films from the US and produced, directed, photographed, edited, and written by Manfred Kirchheimer, unless otherwise noted.

Organized by Joshua Siegel, Curator, Department of Film. Special thanks to Jake Perlin, Cinema Conservancy.

The exhibition is supported by the Annual Film Fund.