Advance Schedule of Exhibitions for MoMA & MoMA PS1

Please note that exhibitions are subject to change. 

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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

Press Preview: Tuesday, March 27, 9:30-11:30 a.m., with remarks to follow.

Remarks will be livestreamed.

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 290 works gathered from public and private collections around the world, this inclusive retrospective, 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 exhibition will encompass the wide range of diverse mediums that Piper has explored for over 50 years: drawing, photography, works on paper, video, multimedia installation, performance, painting, sculpture, and sound. The exhibition will be Piper’s first American museum exhibition in over 10 years, and her first since receiving the Golden Lion Award for Best Artist in the 56th Venice Biennale of 2015 and Germany’s Käthe Kollwitz Prize for 2018.
“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; Connie Butler, Chief Curator, Hammer Museum, Los Angeles; and David Platzker, former Curator, The Department of Drawings and Prints, The Museum of Modern Art; with Tessa Ferreyros, Curatorial Assistant, Department of Drawings and Prints, The Museum of Modern Art.

The exhibition is made possible by Hyundai Card.

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

Generous funding is provided by The Friends of Education of The Museum of Modern Art, Marilyn and Larry Fields, and by Marieluise Hessel Artzt.

Additional support is provided by the Annual Exhibition Fund.


Son of 3-D Funhouse

April 09, 2018–April 11, 2018

The Roy and Niuta Titus Theaters

Our ongoing series highlighting digital preservations and restorations of stereoscopic films from the analog era returns. It takes a great deal of dedication and detective work to reassemble these wonders of mid-20th-century technology, most of which were discarded by their producers once the 3-D fad of the early 1950s had passed. Presented here are two extremely rare, newly restored features, The Maze and Cease Fire, as reconstructed in digital 3-D by Greg Kintz and Robert Furmanek of the 3-D Film Archive, as well as one of the pinnacle achievements of the format, Roy Ward Baker’s desert noir Inferno, as restored by the late Daniel L. Symmes for Twentieth Century Fox.

Organized by Dave Kehr, Curator, Department of Film.


Kazuo Miyagawa: Japan’s Greatest Cinematographer

April 12, 2018–April 29, 2018

The Roy and Niuta Titus Theaters

The most influential cinematographer of postwar Japanese cinema, Kazuo Miyagawa (1908–1999) worked intimately with Yasujirô Ozu, Akira Kurosawa, Kenji Mizoguchi, and Kon Ichikawa on some of their most important films. It was Miyagawa who, in his astonishing versatility, helped perfect Ozu’s exquisitely framed tatami-level compositions in Floating Weeds (1959); the long, choreographed tracking sequences of Mizoguchi’s Ugetsu (1953); the multiple perspectives and jump cuts of Kurosawa’s Rashomon (1950) and Yojimbo (1961); and the innovative use of cameras from different vantage points in Ichikawa’s Tokyo Olympiad (1965).

This first major US retrospective of Miyagawa’s work in more than 35 years opens with a rare screening of Hiroshi Inagaki’s 1943 version of The Rickshaw Man and the 4K restoration premiere of Ozu’s Floating Weeds (1959), a special event introduced by Miyagawa’s son Ichiro and Miyagawa’s camera assistant Masahiro Miyajima. A career-spanning survey of Miyagawa’s cinematography then continues both at MoMA and Japan Society throughout the month. Additionally, new 4K restorations of Kenji Mizoguchi’s A Story From Chikamatsu (1953) and Sansho the Bailiff (1954), both shot by Miyagawa, will run at Film Forum from April 6 through 12.

Miyagawa admired the stark, high-contrast lighting of German Expressionist films of the 1920s, and when he began his career at the Nikkatsu studio in the 1930s, he elevated routine melodramas and musicals through his own stylized black-and-white photography, most notably in Masahiro Makino’s Singing Lovebirds (1939), using mirrors outdoors to create dappled sunlight, for example, or a telephoto lens to suggest emotional distance. But it was his later experimentation with color for which he became legendary. Miyagawa explored the painterly, dramatic, and symbolic qualities of color in films as varied as Mizoguchi’s New Tales of the Taira Clan (1955), Kazuo Ikehiro’s Zatoichi and the Chest of Gold (1964), and Masahira Shinoda’s Silence (1971), based on the same Shûsaku Endô’s novel as the later Martin Scorsese adaptation, as well as Shinoda’s Ballad of Orin (1977) and Gonza the Spearman (1986).

Miyagawa is credited with having invented a color technology, the “bleach bypass,” on Ichikawa’s Her Brother (1960), a process by which he gained greater control over saturation and tonality. The effect is to cast a silvery sheen over the color image, a look that has been used in countless films since then, from cinematographer Roger Deakins’s work on Michael Radford’s 1984 to Janusz Kamínski’s work on Steven Spielberg’s Saving Private Ryan (1998). Another of Miyagawa’s masterful achievements was on Kon Ichikawa’s Tokyo Olympiad (1965), where he supervised 164 cameramen, who used 234 different lenses to capture the dramatic intensity of competition in extreme close-up. The enduring influence of Miyagawa’s innovations and artistic sensibility is further reflected in rare 35mm screenings of Hiroshi Inagaki’s Children Hand in Hand (1948), Kozaburo Yoshimura’s Reminiscence (1953) and Bamboo Doll of Echizen (1963), and Yasuzo Masumura’s Irezumi (The Spider Tattoo) (1966).

Organized by Joshua Siegel, Curator, Department of Film, The Museum of Modern Art; and Aiko Masubuchi and Kazu Watanabe, film programmers at Japan Society.

Special thanks to The National Film Archive of Tokyo, The Japan Foundation, Kadokawa, and Janus Films for the loan of prints and digital restorations.

The exhibition is made possible by MUFG.

Additional support is provided by the Annual Film Fund.


Fernando Palma Rodríguez: In Ixtli in Yollotl, We the People

April 15, 2018–September 10, 2018


MoMA PS1 will present the first US solo museum exhibition of artist Fernando Palma Rodríguez (Mexican, b. 1957), on view from April 15 to September 10, 2018. Since the early 1990s, Palma Rodríguez has combined his training as an artist and mechanical engineer to create robotic sculptures that utilize custom software to perform complex, narrative choreographies. His works respond to issues facing indigenous communities in Mexico, addressing human and land rights, including the violent targeting of these communities, and urgent environmental crises. These concerns have particular significance to the district of Milpa Alta, an agricultural region outside of Mexico City where Palma Rodríguez lives and runs Calpulli Tecalco, a non-profit organization dedicated to the preservation of indigenous culture.

Fernando Palma Rodríguez: In Ixtli in Yollotl, We the People is organized by Ruba Katrib, Curator, MoMA PS1, with Oliver Shultz, Curatorial Assistant, MoMA PS1.

Special thanks to Museo de Arte Contemporáneo de Oaxaca.


Julia Phillips: Failure Detection

April 15, 2018–September 03, 2018


MoMA PS1 will present the first solo museum exhibition of New York-based artist Julia Phillips (German and American, b. 1985), featuring six newly commissioned major works alongside existing sculptures, on view from April 15 to September 3, 2018. Primarily working with ceramics, Phillips creates objects and scenes that are intimately connected to the body. Her sculptures mostly avoid direct figuration, instead proposing various support structures for the body and emphasizing its absence. Impressions of the human form are visible through casts of orifices, handprints, and other corporeal traces. While suggestive of particular functions and purposes that are overtly physical, these works also produce social and psychological resonances. For Phillips, the body is entangled in both the real and abstract spaces of politics, made 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.

Julia Phillips: Failure Detection is organized by Ruba Katrib, Curator, MoMA PS1, with Josephine Graf, Curatorial Assistant, MoMA PS1.


Projects 108: Gauri Gill

April 15, 2018–September 03, 2018


MoMA PS1 presents the US premiere of photographer Gauri Gill’s (Indian, born 1970) most recent body of work, Acts of Appearance. Working closely with members of an Adivasi community in Jawhar district, Maharashtra, India, Gill created a series of vivid color photographs that foreground the community’s renowned production of papier-mâché objects, including traditional sacred masks. Projects 108: Gauri Gill is on view from April 15 through September 3, 2018, featuring Acts of Appearance alongside work from Gill’s series Notes from the Desert.

While traveling in Maharashtra, Gill heard about the Bahoda festival, a ritual celebration of performance and dance observed by members of the Kokna tribe. Over several nights, members of the community enact well-known Hindu epics intermingled with tribal myths, performed with the aid of papier-mâché masks that depict Hindu gods, local tribal gods and demons, and other characters. After seeing the masks, and reflecting upon the possible distance between these traditions and the everyday realities of the Jawhar community, Gill commissioned community members to create a new set of masks that, instead of depicting gods and deities, would take the form of familiar people and animals or valued objects. Many of the masks incorporate common aspects of human existence such as various life stages, states of health, and emotions (or rasas).

Trained as a painter and applied artist, Gill (b. 1970, Chandigarh, India) received a BFA from the Delhi College of Art, and then turned to photography as her primary medium, earning a second BFA from Parsons School of Design in New York and an MFA from Stanford University. In 2011, Gill received the Grange Prize (now known as the Aimia/AGO Photography prize). Her work has been presented internationally and in India, including at documenta 14 in Athens and Kassel, the 7th Moscow Biennale, Prospect 4 in New Orleans, and Kochi Biennale, as well as at institutions including the Centre Pompidou, Paris; the Sackler Gallery at the Smithsonian Institution, Washington DC; the Philadelphia Museum of Art; the Yale University Art Gallery; the Art Gallery of Ontario; the School of Arts and Aesthetics at Jawaharlal Nehru University, Delhi; and the Whitechapel Gallery, London; among others. She lives in New Delhi.

Organized by Lucy Gallun, Assistant Curator, Department of Photography, The Museum of Modern Art.

Land: Zhang Huan and Li Binyuan

April 15, 2018–September 03, 2018


Land: Zhang Huan and Li Binyuan brings together a selection of performance works by two Chinese artists of different generations that address the relationship between the body and the land. Since the 1980s, the status of land in China has been undergoing radical transformation, mirroring shifts from collectivism to individualism and from socialism to capitalism. The exhibition juxtaposes videos and photographs of early performance works by Zhang Huan (Chinese, b. 1965) with those of more recent performances by Li Binyuan (Chinese, b. 1985).

Organized by Klaus Biesenbach, Director, MoMA PS1, and Chief Curator at Large, The Museum of Modern Art; with Oliver Shultz, Curatorial Assistant, MoMA PS1.


Spring Performance Festival

April 15, 2018–April 15, 2018


On April 15, MoMA PS1 will present an all-day celebration of New York City’s performance scene featuring more than 35 artists, alongside the opening of a slate of new exhibitions including Julia Phillips: Failure Detection, Projects 108: Gauri Gill, and Fernando Palma Rodríguez. Presented in collaboration with Brooklyn-based, artist-run space Secret Project Robot, the performance festival highlights work that intersects music, art, and nightlife, including solo and collaborative projects, improvisational theater, live music, and durational performances. The Spring Performance Festival is free and open to the public, marking the culmination of the VW Sunday Sessions season.

The festival highlights artists who first found an outlet for their work, as well as camaraderie and resources, within the city’s alternative spaces. These artists continue to present experimental projects and support the community that fostered their personal and creative identities. Emceed by Horrorchata and Merrie Cherry of BUSHWIG, the festival includes music performances in the VW Dome by Bottoms, Bunny Michael, Macy Rodman, Jennifer Vanilla, and DJ Dog Dick. Interspersed between these performances, FLUCT will premiere a new video work and Kathleen Dycaico will present a series of performances featuring Soojin Chang, DeVonn Francis, Sophia Park, and Kellan Delice. Throughout the building, visitors will encounter pop-up music, performance, and interventions, including performances by Somos Monstros, a collaborative project from Raúl de Nieves and Erik Zajaceskowski; a new durational play by Bushwick-based theatre group Saints of an Unnamed Country, directed by Cameron Stuart and Danielle Pomorski; a six-hour recital by Frank Hurricane; music by Invisible Circle and Dean Cercone; and DJ sets by DJ Bebe and DJ Adi. The program concludes with a rare performance by experimental band Black Dice, who are returning to New York after a five year absence.


MoMA Presents: Tamer El Said’s In the Last Days of the City

April 27, 2018–May 03, 2018

The Roy and Niuta Titus Theaters

This film within a film is a haunting yet lyric chronicle of recent years in the Arab world, where revolutions seemed to spark hope for change and yield further instability in one stroke. The more things change, the more they stay the same. Khalid Abdalla (The Kite RunnerThe Square) plays the protagonist of Tamer El Said’s ambitious feature debut, a filmmaker in Cairo attempting to capture the zeitgeist of his city as the world changes around him—from personal love and loss to the fall of the Mubarak regime. Throughout, friends send footage and stories from Berlin, Baghdad, and Beirut, creating a powerful, multilayered meditation on togetherness, the tactile hold of cities, and the meaning of homeland. Shot in 2008 and completed this year, the film explores the weight of the cinematic image as record and storytelling in an ongoing time of change.

Organized by Sophie Cavoulacos, Assistant Curator, Department of Film.

Akher Ayam El Madina (In the Last Days of the City). 2016. Egypt/Germany/Great Britain/United Arab Emirates. Directed by Tamer El Said. In Arabic; English subtitles. 118 min.

Friday, April 27, 7:00 p.m. Discussion with the filmmaker, Theater 2
Saturday, April 28, 7:00 p.m., Theater 1
Sunday, April 29, 4:00 p.m., Theater 1
Monday, April 30, 4:00 p.m., Theater 2
Tuesday, May 1, 4:30 p.m., Theater 2
Wednesday, May 2, 7:00 p.m., Theater 2
Thursday, May 3, 4:30 p.m., Theater 2


Studio Visit: Selected Gifts from Agnes Gund

April 29, 2018–July 22, 2018

Floor Two, Collection Galleries

A studio visit provides an opportunity for some of the most meaningful encounters, conversations, and exchanges between artists, friends, curators, and collectors. Agnes Gund—or “Aggie,” as she is affectionately known—is one of the most dedicated and steadfast of studio visitors, consistently inspired by the thrill of looking and talking with artists in the presence of their artworks. This exhibition celebrates Gund’s contributions as art patron, collector, and longtime Trustee of The Museum of Modern Art. The presentation pays tribute to the more than 700 works of art she has funded over the past half century. These gifts have come steadily and reliably during her decades of service as a key member of several departmental acquisition committees and her tenure as the Museum’s President from 1991 to 2002.

Gund is committed to supporting a vast range of artists, from celebrated figures she counts among her close friends to emerging talents whose work she champions. “My friendships with artists,” she has said, “as well as a sensitivity to the challenges facing women artists and artists of color, have been formative in shaping my collection, which is deeply personal and deeply autobiographical.” The exhibition will reflect the depth of her collecting by bringing together a broad-ranging group of artworks from the 1950s to today in a non-chronological display that sets visitor favorites, seldom seen works, and recent acquisitions in dialogue with one another. While presenting only a small fraction of the works Gund has given to MoMA, the presentation aims to prove that our collection would not be what it is today without her deeply held convictions and unparalleled generosity.

Organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator, and Cara Manes, Assistant Curator, with Mia Matthias, Curatorial Fellow, Department of Painting and Sculpture.

The exhibition is supported by the Annual Exhibition Fund.

MoMA Audio is supported by Bloomberg Philanthropies.