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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To Save and Project: The 15th MoMA International Festival of Film Preservation

January 18, 2018–February 01, 2018

The Roy and Niuta Titus Theaters

The 15th edition of MoMA’s annual international festival of newly preserved films, To Save and Project, features a diverse selection of titles from Asia, Europe, Africa, Latin America, Australia, and the US, in formats ranging from 16mm to Cinerama.

A strong selection of films by women includes narrative features by two major artists, Chantal Akerman and Ida Lupino, as well as avant-garde work by Sheila Paige, Peggy Ahwesh, Barbara Hammer, and Maria Lassnig, and a selection of the travelogues shot in the 1920s and ’30s by the international adventurer Aloha Wanderwell.

Two classics of African cinema, Gaston Kaboré’s Wend Kuuni(1982) and Med Hondo’s Soleil Ô (1970), join work from the Philippines, Hong Kong, and Mexico to illustrate the global reach of current preservation practice, while the classical Hollywood cinema is represented by three restorations from MoMA: Douglas Fairbanks’s The Three Musketeers (1921) and two rediscoveries from William K. Howard, Transatlantic (1931) and Sherlock Holmes (1932).

Organized by Dave Kehr, Curator, Department of Film. Special thanks to Cindi Rowell and Brittany Shaw.

Electronic subtitling provided by Sub-Ti Ltd.

This exhibition is supported by the Annual Film Fund.

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Winter/Spring 2018 VW Sunday Sessions

January 28, 2018–April 15, 2018

 

The sixth season of MoMA PS1’s VW Sunday Sessions continues on January 28, with twelve more weekly programs that address a range of current social and political issues, explore the life and legacy of alternative spaces, and foster cross-disciplinary collaboration. Encompassing performance, music, dance, conversation, and film, VW Sunday Sessions underscores how live art forms encourage engagement with our contemporary world. Featuring a wide range of artists, curators, collectives, and activist groups, the full schedule of programs follows below.

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Maria Lassnig’s New York Films 1970–1980

February 01, 2018–June 18, 2018

MoMA PS1

MoMA PS1 presents the world premiere of a series of experimental films the artist Maria Lassnig made in New York City in the 1970s. This presentation focuses on a selection of newly discovered and restored films that examine ways of looking and seeing bound up in bodily sensation. Newly restored by the Maria Lassnig Foundation in close collaboration with the Austrian Film Museum, these films incorporate animation, sound, and poetic voiceovers that encourage entry into the artist’s internal world. The restoration was carried out in close collaboration with the Austrian Film Museum under the directorships of Alexander Horwath and Michael Loebenstein, who were indispensable to the restoration of these documents that attest to core principles of Lassnig’s thinking and practice across canvas and celluloid.

Maria Lassnig’s New York Films 1970–1980 highlights both finished films and film fragments, all produced using 16mm, 8mm, and Super 8, comprised of live-action footage, animated drawings, animated paper cut-outs, and documentary footage of the artist’s studio and her surroundings in New York. These newly surfaced films enrich and complicate our understandings of Lassnig’s approach to figuration and self-portraiture, as well as other key themes that she investigated throughout her career, including the social roles assigned to women, the tension between public engagement and private seclusion, and questions of technological advancement, especially of imaging technologies and shifts in the way images circulate.

To kick off this exhibition, a world premiere screening accompanied by a comprehensive presentation detailing the restoration process will take place on January 29 at The Museum of Modern Art as part of the museum’s Modern Mondays series as well as To Save and Project: The 15th MoMA International Festival of Film Preservation.

Organized by Jocelyn Miller, Assistant Curator, MoMA PS1.

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Tania Bruguera: Untitled (Havana, 2000)

February 03, 2018–March 11, 2018

Floor two, Collection Galleries

The Museum of Modern Art presents a major performance installation by Tania Bruguera (Cuban, born 1968), Untitled (Havana, 2000), for the first time since acquiring it in 2015, from February 3 through March 11, 2018. Initially conceived for the 7th Havana Biennial, the work was first presented in the Cabaña Fortress, a military bunker used as a jail for prisoners of conscience during the Cuban Revolution. The Fortress was used from colonial times through the early years of the Revolution as a site where the counter-revolutionary opposition was submitted to torture and execution by firing squad. Combining milled sugarcane, video footage of Fidel Castro, and live performance presented in near-total darkness, the work suggests the contradictions of life following the Cuban Revolution. The work, which was on view for mere hours before being shut down by the Cuban government in 2000, signifies Bruguera’s complex relationship to authority.

Tania Bruguera: Untitled (Havana, 2000) is organized by Stuart Comer, Chief Curator, with Martha Joseph, Curatorial Assistant, Department of Media and Performance Art, and performances produced by Lizzie Gorfaine, Performance Producer, with Kate Scherer, Assistant Performance Coordinator.

The exhibition is made possible by The Jill and Peter Kraus Endowed Fund for Contemporary Exhibitions.

Major support is provided by The Modern Women’s Fund. 

Additional support is provided by the Annual Exhibition Fund.

MoMA Audio is supported by Bloomberg Philanthropies.

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Tarsila do Amaral: Inventing Modern Art in Brazil

February 11, 2018–June 03, 2018

Floor Two, The Paul J. Sachs Galleries

Tarsila do Amaral (Brazilian, 1886–1973) is a foundational figure for the history of modernism in Latin America. The first exhibition in the United States exclusively devoted to the artist focuses on her pivotal production from the 1920s, from her earliest Parisian works, to the emblematic modernist paintings produced in Brazil, ending with her large-scale, socially driven works of the early 1930s. The exhibition features nearly 120 artworks, including paintings, drawings, sketchbooks, photographs, and other historical documents drawn from collections across Latin America, Europe, and the United States.

Born in São Paulo at the turn of the 19th century, Tarsila―as she is affectionately known in Brazil―studied piano, sculpture, and drawing before leaving for Paris in 1920 to attend the Académie Julian. Throughout subsequent sojourns in Paris, she studied with André Lhote, Albert Gleizes, and Fernand Léger, fulfilling what she called her “military service in Cubism,” ultimately arriving at her signature painterly style of synthetic lines and sensuous volumes depicting landscapes and vernacular scenes in a rich color palette. The exhibition follows her journeys between France and Brazil, through Rio de Janeiro and Minas Gerais, charting her involvement with an increasingly international artistic community, and her role in the emergence of modernism in Brazil; in 1928, Tarsila painted Abaporu, which quickly spawned the Anthropophagous Manifesto, and became the banner for this transformative artistic movement that sought to digest external influences and produce an art for and of Brazil itself.

The exhibition is organized by The Museum of Modern Art and the Art Institute of Chicago.

Organized by Luis Pérez-Oramas, former Estrellita Brodsky Curator of Latin American Art, The Museum of Modern Art, and Stephanie D’Alessandro, former Gary C. and Frances Comer Curator of International Modern Art, The Art Institute of Chicago; with Karen Grimson, Curatorial Assistant, Department of Drawings and Prints, The Museum of Modern Art.

Major support for the New York presentation is provided by The International Council of The Museum of Modern Art, The Modern Women’s Fund, and by the Vicky and Joseph Safra Foundation.

Generous funding is provided by Clarice Oliveira Tavares, Yvonne Dadoo Ader, and by the Consulate General of Brazil in New York.

Additional support is provided by the Annual Exhibition Fund.

MoMA Audio is supported by Bloomberg Philanthropies.

 

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Doc Fortnight 2018: MoMA’s International Festival of Nonfiction Film and Media

February 15, 2018–February 26, 2018

The Roy and Niuta Titus Theaters

Doc Fortnight, MoMA’s annual international festival of nonfiction film, returns for its 17th year with 12 days of innovative approaches to documentary filmmaking from February 15-26. Featuring a diverse assortment of feature and short films from across the globe, the festival continues to highlight the vibrant and varied styles of independent filmmakers—both emerging and established—around the world.

Recognizing the recent passing of award-winning filmmaker, Jonathan Demme, this year’s festival includes a retrospective of several documentaries made during his prolific career. At a time of escalating sociopolitical tension, Doc Fortnight continues its history of showcasing nonfiction film that challenges our perceptions of the changing world and the traditional model of documentary cinema.

Organized by Kathy Brew, Guest Curator, with Gianna Collier-Pitts

The exhibition is supported by the Annual Film Fund.

 
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Being: New Photography 2018

March 18, 2018–August 19, 2018

Floor Three, The Edward Steichen Galleries

Press Preview: Tuesday, March 13, 9:30-11:30 a.m., with remarks to follow.

Being: New Photography 2018, the latest edition of MoMA’s longstanding and celebrated New Photography series, investigates charged and layered notions of personhood and subjectivity in recent photography and photo-based art, presenting works by 17 artists working in the US and internationally.

The works included in Being respond to diverse lived experiences and circumstances through a range of issues and tactics, including interrogations of traditional modes of photographic portraiture, the use of surrogates or masks as replacements for the body, tensions between privacy and exposure, formations of community or social relations, and the agency of the sitter and of the artist. Some works in the exhibition might be considered straightforward figurative depictions, while others do not include imagery of the human body at all. Since its earliest manifestations, photography has been widely seen as a means by which to capture an exact likeness of a person; the artists featured in Being mine or upset this rich history as they explore photographic representations of personhood today, when rights of representation are contested for many individuals.

Being: New Photography 2018 is constituted primarily of works made since 2016, both by artists who are just starting out in their careers, some showing in New York for the first time, and by others with more established practices who, in some cases, have been supporting the field of photography through teaching or creating other platforms for production. For all the artists, this will be the first exhibition of their work at the Museum.

The artists included are:

Sofia Borges (Brazilian, born 1984)
Matthew Connors (American, born 1976)
Sam Contis (American, born 1982)
Shilpa Gupta (Indian, born 1976)
Adelita Husni-Bey (Italian, born 1985)
Yazan Khalili (Palestinian, born Syria, 1981)
Harold Mendez (American, born 1977)
Aïda Muluneh (Ethiopian, born 1974)
Hương Ngô and Hồng-Ân Trương (American, born Hong Kong, 1979; American, born 1976)
B. Ingrid Olson (American, born 1987)
Joanna Piotrowska (Polish, born 1985)
Em Rooney (American, born 1983)
Paul Mpagi Sepuya (American, born 1982)
Andrzej Steinbach (German, born Poland, 1983)
Stephanie Syjuco (American, born Philippines, 1974)
Carmen Winant (American, born 1983)

Being: New Photography 2018 is organized by Lucy Gallun, Assistant Curator, Department of Photography.

Major support for the exhibition is provided by The William Randolph Hearst Endowment Fund and by David Dechman and Michel Mercure.

Generous funding is provided by Courtney Finch Taylor and by James G. Niven.

Additional support is provided by the Annual Exhibition Fund.

MoMA Audio is supported by Bloomberg Philanthropies.

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New Directors New Films 2018

March 28, 2018–April 08, 2018

The Roy and Niuta Titus Theaters

Now in its 47th year, the renowned New Directors/New Films festival, presented jointly by The Museum of Modern Art and the Film Society of Lincoln Center, introduces New York audiences to the work of emerging or not-yet-established filmmakers from around the world. The festival takes place at the Walter Reade Theater at Lincoln Center and at The Roy and Niuta Titus Theaters at MoMA.

Organized by a selection committee comprising Rajendra Roy, the Celeste Bartos Chief Curator; La Frances Hui, Associate Curator; Sophie Cavoulacos, Assistant Curator and Brittany Shaw, Department Assistant, Department of Film, The Museum of Modern Art; and Dennis Lim, Director of Programming; Florenze Almozini, Associate Director of Programming; Dan Sullivan, Assistant Programmer, and Tyler Wilson, Programming Coordinator, the Film Society of Lincoln Center.

New Directors/New Films is presented by The Museum of Modern Art and the Film Society of Lincoln Center and is supported by the Annual Film Fund of The Museum of Modern Art.

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Adrian Piper: A Synthesis of Intuitions, 1965–2016

March 31, 2018–July 22, 2018

Floor Six, The Steven and Alexandra Cohen Center for Special Exhibitions, and Floor Two, The Donald B. and Catherine C. Marron Atrium

From March 27 to July 22, 2018, The Museum of Modern Art will present the most comprehensive exhibition to date of the work of Adrian Piper (American, born 1948), the result of four-year collaboration between Piper, The Museum of Modern Art’s Department of Drawings and Prints, and The Hammer Museum, Los Angeles. Comprising over 280 works gathered from public and private collections around the world, the exhibition, which will be seen in its entirety only at The Museum of Modern Art, will occupy the Museum’s entire sixth floor—the first time that entire level has been devoted to the work of a living artist. The retrospective will provide an in-depth review of the full range of Piper’s work in diverse mediums: works on paper, video, multimedia installation, performance, painting, sound, and photo/text-based graphics spanning over five decades. Accompanying the exhibition will be a catalogue including essays by Christophe Cherix, Connie Butler, David Platzker, and Adrian Piper; and a reader with essays by Diarmuid Costello, Jörg Heiser, Kobena Mercer, Nizan Shaked, Vid Simoniti, and Elvan Zabunyan  – both published by the Museum; and a new autobiographical text by Piper published by the APRA Foundation Berlin. The exhibition will be Piper’s first American museum exhibition in over ten years and her first since receiving the Golden Lion Award for Best Artist at the 56thVenice Biennale in 2015. 
 
“It has been a privilege for us all to work with Piper in mounting this uncompromising exhibition, which will vastly expand our understanding of the Conceptual and post-Conceptual movements and Piper’s pivotal position among both her peers and later generations of artists,” said Glenn D. Lowry, The Museum of Modern Art’s Director. 
 
“I have been deeply honored and very moved by the curators’ invitation to do this exhibition,” added Piper. “It is a pleasure to collaborate with them on it. The Museum of Modern Art is offering me a unique and invaluable opportunity to make a much larger selection of work available to a much larger and more global audience than has ever been possible before. It is a terrific adventure.”
 
Adrian Piper has consistently produced groundbreaking, transformative work that has profoundly shaped the form and content of Conceptual art since the 1960s. Strongly inflected by her longstanding involvement with philosophy and yoga, her pioneering investigations into the political, social, psychological, and spiritual potential of Conceptual art have had an incalculable influence on artists working today.
 
The exhibition is organized by Christophe Cherix, The Robert Lehman Foundation Chief Curator of Drawings and Prints, The Museum of Modern Art; David Platzker, Curator, The Department of Drawings and Prints, The Museum of Modern Art; and Connie Butler, Chief Curator, Hammer Museum, Los Angeles; with Tessa Ferreyros, Curatorial Assistant, Department of Drawings and Prints, The Museum of Modern Art.
 
Major support for the exhibition is provided by The Modern Women’s Fund.
 
Generous funding for the exhibition is provided by The Friends of Education of The Museum of Modern Art.
 
Additional support is provided by the Annual Exhibition Fund.
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Julia Phillips: Failure Detection

April 15, 2018–September 10, 2018

MoMA PS1

MoMA PS1 will present the first solo museum exhibition of New York–based artist Julia Phillips (b. 1985, German), featuring newly commissioned major works in combination with existing sculptures. Primarily working with ceramics, Phillips creates objects and scenes that are intimately connected to the body. Her sculptures mostly avoid direct figuration, however, and instead propose various interventions into and support structures for the body, emphasizing its absence from the works. Impressions of the human form are visible through elements like casts of orifices, handprints, and other traces, which indicate particular bodily placements in relation to her forms. While suggestive of functions that are overtly physical, these works also extend to the social and psychological. For Phillips, the body is entangled in the real and abstract spaces of politics, evident through indications given in her arrangements as well as the works’ titles, which are often directives for specific actions.

Julia Phillips (b. 1985, Hamburg, Germany) lives and works in New York City. She has been included in group exhibitions at The Studio Museum in Harlem, New York; The Kitchen, New York; and Kunsthaus, Hamburg. Phillips will also be included in the forthcoming New Museum Triennial.

Organized by Ruba Katrib, Curator, MoMA PS1.

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