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. 

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MoMA_UCHIDA_Twilight Saloon 1955

Tomu Uchida: A Retrospective

October 21, 2016–November 07, 2016

The Roy and Niuta Titus Theaters

An artful stylist and shrewd social critic, the Japanese filmmaker Tomu Uchida (1898–1970) left an illustrious body of work little seen or acknowledged outside his home country. Working within the Japanese studio system, he proved to be a dexterous, adaptable visionary comfortable at the helm of any production—from samurai films, thrillers, and literary adaptations to social satire and even a pseudo-Western set in Japan’s “Wild North” of Hokkaido. Uchida started making films during the silent period, found his career as a director interrupted by a decade spent in Manchuria at the end of WWII, and later returned to Japan to amass a rich and far-reaching body of work. This retrospective, the most extensive ever held outside Japan, includes works from the early 1930s through the late 1960s, when Uchida’s films tracked monumental social and political changes in Japan with a cinematic flair that puts the director among legends like Masaki Kobayashi and Kihachi Okamoto.

All films, which are presented in 35mm, are directed by Tomu Uchida, from Japan, and in Japanese with English subtitles, unless otherwise noted.

Organized by La Frances Hui, Associate Curator, Department of Film, The Museum of Modern Art, in collaboration with independent curators Alexander Jacoby and Johan Nordström, and the National Film Center, The National Museum of Modern Art, Tokyo.

GreenScreenRefrigeratorAction. 2010. Performance view, Gavin Brown’s enterprise, New York, 2010. Image courtesy Mark Leckey and Gavin Brown’s enterprise, New York/Rome. © Mark Leckey.

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.

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Artist’s Choice: Jérôme Bel/MoMA Dance Company

October 27, 2016–October 31, 2016

Donald B. and Catherine C. Marron Atrium

On the occasion of French Institute Alliance Française (FIAF)’s Crossing the Line Festival 2016, The Museum of Modern Art presents Artist’s Choice: Jérôme Bel/MoMA Dance Company. An exhibition series inaugurated in 1989 at MoMA, Artist’s Choice periodically invites contemporary artists to organize installations drawn from the Museum’s collection. When invited to be the first choreographer to participate in an Artist’s Choice, Jérôme Bel shifted his focus from the artworks in the collection to MoMA’s staff, and to the care and labor necessary to maintain the collection and make it visible. Bel also became interested in the relation of the Museum’s employees to specific artworks, to the institution, and to dance. Eventually, Bel decided to turn his Artist’s Choice exhibition into a performance: MoMA Dance Company.

Through an open call, MoMA Dance Company brings together 20 to 25 MoMA staff members from different departments who will perform during public hours in the Donald B. and Catherine C. Marron Atrium. Taking inspiration from his recent piece Company, Company, which features both amateur and professional dancers of different ages and backgrounds, Bel has invited each participating MoMA staff member to choreograph a brief solo dance of their choice. Based on the guiding principles of solo and group performances, MoMA Dance Company subverts the idea of a dance company and notions of virtuosity—and the typical focus of Artist’s Choice installations on objects—to challenge the imaginations and expectations of audiences and the institution itself. Artist’s Choice: Jérôme Bel/MoMA Dance Company is organized by Ana Janevski, Associate Curator, with Martha Joseph, Curatorial Assistant, Department of Media and Performance Art, and produced by Lizzie Gorfaine, Performance Producer.

Presented on the occasion of FIAF’s Crossing the Line 2016, in conjunction with related programming at The Joyce and The Kitchen.

The Artist’s Choice exhibition series is made possible through The Agnes Gund Artist’s Choice Fund endowed by Iara Lee and George Gund III, Lulie and Gordon Gund, Ann and Graham Gund, and Sarah and Geoffrey Gund.

Additional support is provided by the MoMA Annual Exhibition Fund.

The artist gratefully acknowledges the Cultural Services of the French Embassy in the United States.

Berenice Abbott. George Washington Bridge, Riverside Drive and West 179th Street, Manhattan. January 17, 1936. Gelatin silver print, 9 9/16 x 7 5/8" (24.3 x 19.3 cm). The Museum of Modern Art, New York. Promised gift of Robert B. Menschel. © 2016 Berenice Abbott/Commerce Graphics

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.

W. 2008. USA. Directed by Oliver Stone. Courtesy Lionsgate/Photofest

Modern Matinees: The Body Politic

November 02, 2016–November 30, 2016


To celebrate election season, Modern Matinees takes a look at elections, candidates, politicians, constituents, rivals, dissenters, lobbyists, and media pundits in films drawn largely from MoMA’s collection. From the spellbinding intrigue of The Manchurian Candidate (1962) to the biting irony of Wag the Dog (1997), both drama and parody cannily reflect what we see on the evening news. Oliver Stone’s presidential trio of JFK (1991), Nixon (1995), and W (2008) capture the characters of the presidents through persuasive performances—and the cultural zeitgeist as well. While contemporary films may present cheeky, irreverent, or critical portraits of the Oval Office and its inhabitants, classics like D. W. Griffith’s Abraham Lincoln (1930) offer a more reverential, obliging view. Counter Griffith’s take on the 16th president with the effortless comedy Kisses for My President, in which POTUS is a Mrs. and her husband must entertain at tea parties in the Rose Garden. Motion pictures broadly reflect the age in which we live, and that’s certainly true of the films in Modern Matinees: The Body Politic.

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

The Brat. 1931. USA. Directed by John Ford. Courtesy Twentieth Century Fox.

To Save and Project: The 14th MoMA International Festival of Film Preservation

November 02, 2016–November 23, 2016

The Roy and Niuta Titus Theaters

One of MoMA’s most beloved film festivals, To Save and Project features dozens of newly preserved and restored films from around the world. Now celebrating its 14th year, this three-week exhibition of rarities and masterworks constitutes a rich survey of the invaluable work of international archives, studios, and independent filmmakers to save our cinema heritage. Many of these films are receiving their first American screening since their original release, others will be shown in meticulously restored versions, and others still are being shown for the first time ever in New York.

Organized by Joshua Siegel, Curator, and Dave Kehr, Adjunct Curator, Department of Film, MoMA.

Big. 1988. USA. Directed by Penny Marshall. © 20th Century Fox. Courtesy of Photofest

Tom Hanks: A Tribute

November 08, 2016–November 14, 2016

The Roy and Niuta Titus Theaters

Tom Hanks has been an enduring star and a steadfast screen presence for more than 30 years, and The Museum of Modern Art is thrilled to honor him at its ninth annual film benefit on November 15.

Embodying the decent, hardworking American “everyman” since the early days of his career, Hanks is equally capable in screwball comedies, action films, and award-winning dramas. Beyond his many acting accomplishments—including two Academy Awards—he has stepped behind the camera as director and producer of several acclaimed film and television projects. His versatility often leads to comparisons with such screen icons as James Stewart, Cary Grant, and Jack Lemmon. But comparisons aside, Tom Hanks is unquestionably an original, as evidenced by the diversity of his work—a range represented in this small survey of films, which combines selections from MoMA’s collection and some staff favorites.

Organized by the Department of Film.

The exhibition is supported by the Annual Film Fund.

Francis Picabia (French, 1879–1953). L'Œil cacodylate (The Cacodylic Eye). 1921. Oil, enamel paint, gelatin silver prints, postcard, and cut-and-pasted printed papers on canvas, 58 1/2 x 46 1/4" (148.6 x 117.4 cm). Centre Pompidou, Musée national d'art moderne – Centre de création industrielle, Paris. Purchase in honor of Au temps du Bœuf sur le Toit, 1967. © 2016 Artists Rights Society (ARS), New York/ADAGP, Paris. Photo: © CNAC/MNAM/Dist. RMN-Grand Palais/Art Resource, NY

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

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.

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.

Volver. 2006. 121 min. Courtesy Sony Pictures Classic/Photofest

Pedro Almodóvar

November 29, 2016–December 17, 2016

The Roy and Niuta Titus Theaters

Pedro Almodóvar will be honored with a major career retrospective at The Museum of Modern Art. Opening on November 29 with a special screening of Almódovar’s latest work and 20th feature film, Julieta (2016), to be released nationally on December 21, the retrospective will include all 20 of the director’s feature films, beginning with his first film Pepi, Luci, Bom, y otras chicas del montón (Pepi, Luci, Bom) from 1980.

Almodóvar (Spanish, b. 1949) made his exuberant entry onto the film scene in 1980, riding a post-Franco countercultural wave in Spain, and established himself as one of the most distinctive voices in cinema. His work contributed to the creation of a new Spanish cultural and social order, and through his production company El Deseo (founded in 1986 with his brother Agustín) he has made some of the most globally influential films of the past 30 years. His genre-defying films mix camp, melodrama, and humor to explore themes of transgression, desire, and identity. Almodóvar has constructed a colorful universe inhabited by offbeat characters, fluid sexual and gender identities, and complex and singular women. His all-inclusive, anything-goes spirit, which celebrates all beings, emotions, and reasons, appeals to a worldwide audience, allowing him to be at once a countercultural provocateur and the Oscar-winning writer/director of All About My Mother and Talk to Her.

Pedro Almodóvar is organized by Rajendra Roy, The Celeste Bartos Chief Curator of Film, and La Frances Hui, Associate Curator, Department of Film, MoMA.