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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Underworld (1927)
Directed by Josef von Sternberg
Shown from left: Evelyn Brent, Clive Brook

Modern Matinees: Fashionably Late

January 01, 2016–February 09, 2016

The Roy and Niuta Titus Theaters

In September 2015 we introduced Modern Matinees, a new series of afternoon screenings, drawn from MoMA’s collection, organized around themes from big names and personalities to major movements, time periods, genres, and more. These anthology programs may change on a monthly basis or emerge in longer arcs, and they will often be accompanied by posts on MoMA’s Inside/Out blog.

Since our regular Modern Matinees screenings take place on weekday afternoons, we’d like to offer this “redux” presentation for audiences that have been unable to attend. Now’s your chance to spend an evening with Edward G. Robinson and Humphrey Bogart, catch some classic Hollywood films like Little Caesar (1931) and The Maltese Falcon (1941), and say thank you to Iris Barry for having the foresight to build one of the most inclusive film collections in the world.

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

Branding Broadway. 1918. USA. Directed by William S. Hart

Modern Matinees: A Pioneer Cowboy

January 06, 2016–February 26, 2016

The Celeste Bartos Theater

In September 2015 we introduced Modern Matinees, a new series of afternoon screenings, drawn from MoMA’s collection, organized around themes from big names and personalities to major movements, time periods, genres, and more. These anthology programs may change on a monthly basis or emerge in longer arcs, and they will often be accompanied by posts on MoMA’s Inside/Out blog.

William S. Hart (1864–1946) had a face—craggy, world weary, and parched—made for the movies, and embodied the archetypal Western ethos of honest work, belief in a higher being, and a well-defined moral code. Born in Newburgh, New York, Hart began his training as a stage actor and worked on Broadway in roles as varied as Shakespearean leads and the original stage version of Ben Hur, in 1899. It wasn’t until much later, in his 40s, that he became a film actor, and he was soon starring in and directing films just as the motion picture phenomenon was transitioning from social curiosity to popular leisure activity.

The former stage actor jumped into his cowboy persona with gusto, adopting a hard-bitten, down-to-earth persona and donning durable work gear and a battered hat and boots. There were no fancy spurs and hand-tooled saddles for this cowboy, an unadorned philosophy that carried over to his characters as well—simple, conflicted men pushed to the limits of patience in a Wild West of saloons, prostitutes, a discontented Native population, a lack of respect for the Good Book, and no shortage of guns. Hart’s film career continued through 1925, when a personal scandal pushed him out of favor with audiences and fickle moviegoers turned to the glitzier—and certainly more artificial—cowboy Tom Mix, with his handsome face and pristine white hat.

Films in this program are drawn from MoMA’s collection and are silent with musical accompaniment. All films are from the U.S. and directed by William S. Hart, unless otherwise noted.

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

Production still from Lime Kiln Club Field Day. 1913/2014. USA. Directed by Directed by Edwin Middleton, T. Hayes Hunter, Sam Corker Jr.

Bert Williams and Company

January 13, 2016–January 19, 2016

The Roy and Niuta Titus Theaters

The Museum’s celebrated restoration of the black-cast 1913 feature Lime Kiln Club Field Day returns after its 2014 world-premiere in a newly titled and tinted 35mm print. At a challenging time of segregation, in the fall of 1913, a pioneering cast of African American performers, led by the famed Caribbean American entertainer Bert Williams, gathered in the Bronx to make a series of movies based on the Lime Kiln Club stories of white humorist Charles Bertrand Lewis. After shooting over 80 minutes of film, the project was abandoned by its white producers, who packed the footage away in unidentified cans, leaving no written record. The recovery of this work stands today as testament to this community of entertainers at a moment in their struggle for the right to perform and the freedom to control their own image.

Organized by Ron Magliozzi, Associate Curator, Department of Film.

Down to Earth. 1947. USA. Directed by Alexander Hall. Courtesy Columbia Pictures/Photofest

All That Jack (Cole)

January 20, 2016–February 06, 2016

The Roy and Niuta Titus Theaters

The choreographer Jack Cole (American, 1911–1974) stands as one of the most influential figures in 20th-century dance. Gathering elements from ballet, ethnic and popular dance styles, and the avant-garde, Cole was a principal figure in the formation of “theatrical jazz,” the idiom that has dominated American stage and screen performance since the 1950s. Among the many choreographers his work has influenced are Jerome Robbins, Gower Champion, Alvin Ailey and, perhaps most conspicuously, Bob Fosse, who not only employed Cole’s distinctively angular movement and ironic show-biz references, but also married Cole’s longtime assistant Gwen Verdon.

Like his Broadway-to-Hollywood predecessor Busby Berkeley, Cole became a filmmaker in his own right as his stature in the industry grew, assuming complete control over framing, cutting, camera movement, and production design. His startlingly advanced and assured work often appears as a separate film-within-a-film, suddenly raising the stakes in otherwise undistinguished movies like The Thrill of Brazil (1946) and The I Don’t Care Girl (1953). Cole also gained a reputation for presenting the talents of particular stars, ranging from the accomplished dancer Rita Hayworth (Gilda, 1946) and the non-dancer Marilyn Monroe, with whom he worked on six films, including Gentlemen Prefer Blondes (1953). This series will include two illustrated lectures by the dance critic Debra Levine, who will also host a conversation with the dancer Barrie Chase, a frequent Cole collaborator (Les Girls, 1957) on January 22. 

Organized by Dave Kehr, Adjunct Curator, Department of Film, MoMA, with Debra Levine, independent curator.

No abras nunca esa puerta (Never Open That Door). 1952. Argentina. Produced and directed by Carlos Hugo Christensen. 85 min.

Death Is My Dance Partner: Film Noir in Postwar Argentina

February 10, 2016–February 16, 2016

The Roy and Niuta Titus Theaters

With its revelations of a darkly entertaining and uniquely indigenous brand of film noir, MoMA’s 2015 Mexico at Midnight: Film Noir from Mexican Cinema’s Golden Age series paved the way for further research into other homegrown forms of noir. A suitably sinister place to start is Argentina during the Peronist years (1949–56), a period of repression and class warfare for some, and a glorified age of social justice and national pride for others. For the screenwriters, directors, and actors in this six-film series, Buenos Aires is a cesspool of murder and corruption, where serial killers, pedophiles, and racketeers walk the streets with impunity, and no crime goes punished—the perfect backdrop for adaptations of thrillers by Cornell Woolrich, Hugo Fregonese, and Adolfo Jasca, as well as Richard Wright’s Native Son and Fritz Lang and Thea von Harbou’s 1930 expressionist classic M. Taut and exciting, with perverse pleasures every step of the way, this exhibition is co-presented by its curators, Eddie Muller, founder and president of the Film Noir Foundation; and his Argentine colleague, film historian Fernando Martín Peña. Featuring the New York premieres of four films preserved by the Film Noir Foundation in association with Fernando Martín Peña, as well as the Foundation’s restoration of Los Tallos amargos (performed by UCLA Film & Television Archive) and the world premiere of Native Son (digitally restored by The Library of Congress), this exhibition proves, beyond the shadow of a doubt, that we really don’t know what we’ve been missing. All film descriptions are by Eddie Muller. All films are from Argentina and in Spanish with English subtitles, unless otherwise noted.

The exhibition is organized by Eddie Muller, Founder and President, Film Noir Foundation, and Fernando Martín Peña, Film Curator, MALBA, Buenos Aires. The presentation at MoMA is organized by Joshua Siegel, Curator, Department of Film.

Marcel Broodthaers (Belgian, 1924–1976). Armoire blanche et table blanche (White cabinet and white table). 1965. Painted furniture with eggshells, cabinet: 33 7/8 × 32 1/4 × 24 1/2 in. (86 × 82 × 62 cm); table: 41 × 39 3/8 × 15 3/4 in. (104 × 100 × 40 cm). The Museum of Modern Art, New York. Fractional and promised gift of Jo Carole and Ronald S. Lauder, 1992. © 2015 Estate of Marcel Broodthaers / Artists Rights Society (ARS), New York / SABAM, Brussels

Marcel Broodthaers: A Retrospective

February 14, 2016–May 15, 2016

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

Marcel Broodthaers: A Retrospective is the first comprehensive survey of the artist’s work to take place in New York, bringing together some 200 works, the majority made between the years 1963 to 1975. The exhibition explores the critical if under-recognized place of Marcel Broodthaers (Belgian, 1924–1976) in the history of 20th-century art, and his extraordinary output across mediums that placed him at the center of international activity during the transformative decades of the 1960s and 1970s. Marcel Broodthaers: A Retrospective is organized by MoMA and the Museo Nacional Centro de Arte Reina Sofía (MNCARS) in Madrid. It is curated by Christophe Cherix, The Robert Lehman Chief Curator of Drawings and Prints at MoMA, and Manuel J. Borja-Villel, Director of MNCARS, with Francesca Wilmott, Curatorial Assistant, Department of Drawings and Prints, MoMA. The exhibition will travel to MNCARS in October 2016 and the Kunstsammlung Nordrhein-Westfalen (KNW), Düsseldorf, in March 2017.

Throughout his career, from his early objects variously made of mussel shells, eggshells, and books of his own poetry; to his most ambitious project, the Musée d’Art Moderne, Département des Aigles (Museum of modern art, Department of eagles); and his distinctive Décors that set a precedent for what we call installation art today, the work of Broodthaers has had a profound influence on a broad range of contemporary artists, and he remains vitally relevant to cultural discourse at large.

In 2011, MoMA acquired the Daled Collection, one of the defining collections of American and European Conceptual art of the late 1960s and 1970s. The collection brought to MoMA an unparalleled grouping of over 60 works by Broodthaers and a rich archive of rarely seen ephemera and photographs, making New York a new center for the presentation and study of the artist’s work.

Major support for the exhibition is provided by The International Council of The Museum of Modern Art, Marie-Josée and Henry Kravis, Anna Marie and Robert F. Shapiro, The Junior Associates of The Museum of Modern Art, and Jill and Peter Kraus.

Generous funding is provided by The General Representation of the Government of Flanders to the USA.

Additional support is provided by the MoMA Annual Exhibition Fund.

Support for the publication is provided by the Jo Carole Lauder Publications Fund of The International Council of The Museum of Modern Art.

The accompanying seminar was made possible by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.

The Great Wall. 2015. Ireland. Directed by Tadhg O’Sullivan. Courtesy of Tadhg O’Sullivan.

Doc Fortnight 2016

February 19, 2016–February 29, 2016

The Roy and Niuta Titus Theaters

Doc Fortnight, MoMA’s annual international festival of nonfiction film, celebrates its 15th year with 10 days of important new discoveries in documentary cinema. Featuring the New York premieres of recent films by first-time and established artists—many of whom will introduce their work in person—the festival offers fresh ways of seeing and understanding the world. Combining short and feature-length work, Doc Fortnight highlights the growing ambition and experimentation within the documentary field at a time when documentaries are commanding more popular and critical attention than ever. 

Once again, this year’s Doc Fortnight underscores the founding principle of the festival: that cross-fertilization among experimental, fiction, and nonfiction films enriches our understanding of the increasingly complex world in which we live.

Organized by Sally Berger, Assistant Curator, and David Neary, Doc Fortnight Festival Liaison, Department of Film, MoMA. The selection committee consisted of Yto Barrada, artist; Toby Lee, Assistant Professor of Cinema Studies, New York University; and Sally Berger. 

Maria Hassabi
The Museum of Modern Art
new York, N.Y.
October 30, 2015

Maria Hassabi: PLASTIC

February 21, 2016–March 20, 2016

Donald B. and Catherine C. Marron Atrium and stairwells in the Museum

Choreographer Maria Hassabi’s PLASTIC is a commissioned live installation in which dancers perform throughout MoMA continuously during opening hours. They move between poses at a barely perceptible pace across the Museum’s floors and down its staircases. At moments, their positions recall images of bodies in repose, collapse, or transition. With no fixed beginning and end, PLASTIC reformats the duration of theatrical performance into a month-long museum exhibition. Removing the physical distance between audience and performer, Hassabi’s sustained movement encourages visitors to closely observe the small shifts in the performers’ motions over time. Exploring the tension between stillness and sustained movement, PLASTIC addresses the interface between artistic object and human subject. PLASTIC occupies The Agnes Gund Garden Lobby staircase, The Donald B. and Catherine C. Marron Atrium, and the wooden staircase between the fourth- and fifth-floor galleries. On Fridays, PLASTIC is performed only in the Marron Atrium.

Maria Hassabi (b. Cyprus 1973) is a New York-based artist and choreographer. Over the years she has developed a distinct choreographic practice involved with the relation of the body to the still image and the sculptural object. Her works have been presented worldwide in theaters, festivals, museums, galleries, and public spaces, such as ArtSonje, Seoul (2015); Stedelijk Museum, Amsterdam (2015); Hammer Museum, Los Angeles (2015); Australian Center for Contemporary Art, Melbourne (2014); Kunstenfestivaldesarts, Brussels (2014); steirischer herbst, Graz (2014); Kunsthalle, Oslo (2014); The Kitchen, New York (2013, 2011, 2006); Performa, New York (2013, 2009); 55th Venice Biennale (2013); Centre d’Art Contemporain, Geneva (2012), amongst others. Hassabi is a recipient of the 2015 Herb Alpert Award, the 2012 President’s Award for Performing Arts from Lower Manhattan Cultural Council, is a 2011 Guggenheim Fellow, and received a 2009 Grants to Artists Award from the Foundation for Contemporary Arts. She holds a BFA from California Institute of the Arts.

On Wednesday February 24th at 7:00 p.m. Maria Hassabi will be in conversation with Philip Bither, William and Nadine McGuire Director and Senior Curator, Performing Arts, Walker Art Center in the Marron Atrium.

Maria Hassabi: PLASTIC is co-commissioned by The Museum of Modern Art, New York; the Hammer Museum, Los Angeles; and the Stedelijk Museum, Amsterdam.

The exhibition is organized at MoMA by Thomas J. Lax, Associate Curator, with Martha Joseph, Curatorial Assistant, Department of Media and Performance Art.

Major support for the MoMA presentation is provided by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation and by The Jill and Peter Kraus Endowed Fund for Contemporary Exhibitions.

Generous funding is provided by The Junior Associates of The Museum of Modern Art.

The Ladies Man. 1961. USA. Directed by Jerry Lewis

Happy Birthday, Mr. Lewis: The Kid Turns 90

March 01, 2016–March 15, 2016

The Roy and Niuta Titus Theaters

In different movies, he had different names—Seymour, Melvin, Myron, Morty—but for Jerry Lewis, the character he created was always The Kid: an eternal adolescent, awkward and elegant, knowing and naïve, exhilaratingly brash and painfully shy. Eventually, Lewis aged out of The Kid, becoming one of America’s most internationally honored filmmakers in the process, but even in Lewis’s late films, The Kid never left him entirely. His energy and unpredictability was always there, a threat and a promise.

March 16 is Lewis’s 90th birthday, an occasion MoMA is celebrating with a retrospective of some of his finest films, all presented in rare 35mm prints. And each program comes with a surprise: selections of outtakes, screen tests, home movies, and behind-the-scenes footage chosen by Robert Furmanek, Mr. Lewis’s personal archivist of many years. Happy Birthday Mr. Lewis: The Kid Turns 90 presents an in-depth look at a profoundly American artist.

Organized by Dave Kehr, Adjunct Curator, Department of Film, MoMA, and Robert Furmanek, independent curator.


Modern Matinees: An Animation Omnibus

March 02, 2016–March 31, 2016

The Celeste Bartos Theater

In September 2015 we introduced Modern Matinees, a new series of afternoon screenings, drawn from MoMA’s collection, organized around themes from big names and personalities to major movements, time periods, genres, and more. These anthology programs may change on a monthly basis or emerge in longer arcs, and they will often be accompanied by posts on MoMA’s Inside/Out blog.

The early animation short Gertie the Dinosaur (1914) entered the MoMA collection soon after the founding of the Film Library in 1935. Since that time, MoMA Film Department curators have been interested in the varying styles, methodologies, technologies and narratives that make up the animated film. From traditional hand-drawn cartoon animation to silhouette animation, toanimation including live action to computer generated imagery (CGI), the MoMA film collection represents each distinctive category. With nearly five percent of the collection containing animated works from the earliest days of cinema to today, it would be impossible to present them all. Modern Matinees: An Animation Omnibus provides a snapshot of some favorites that represent the diversity of feature length animation works in the collection.

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