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.

High-resolution images for publication are available through our password-protected Press Access.
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MoMA Presents: Hlynur Pálmason’s Winter Brothers

June 28, 2018–July 04, 2018


This debut feature from Hlynur Pálmason, an Icelandic visual artist/filmmaker based in Denmark, is an immersive sensory experience set in a desolate Danish limestone mining community. A landscape covered in indistinguishable white ash and snow masks the darkness enveloping Emil, a lonely and eccentric young man who works in the mine with his much more sociable brother. Few notice Emil until he is suspected of causing a coworker’s grave illness, which leads to his being ostracized. A relentless industrial soundscape accompanies this portrait of a man trapped in unforgiving isolation.

Organized by La Frances Hui, Associate Curator, Department of Film.


Warm Up 2018

June 30, 2018–September 01, 2018


MoMA PS1’s pioneering outdoor music series Warm Up returns in 2018 with ten Saturdays presenting the best in live and electronic music. Taking place every Saturday from June 30 through September 1, Warm Up celebrates a wide range of artists: emerging and established, local and global, and across genres. This year’s program welcomes Omar-S, SOB x RBE, HoodCelebrityy, Cashmere Cat, Kelsey Lu, Maxo Kream, Lizzo, A-Trak, Gang Gang Dance, Josey Rebelle, Starchild + The New Romantic, and DJ Kass, as well as the New York debut of Laff Trax, a new collaboration by Chaz Bear of Toro y Moi and Jason Chung of Nosaj Thing, and a final-day headlining set by members of Discwoman, a collective that exclusively represents women and genderqueer artists.

Now in its 21st season, Warm Up is one of the longest running music programs housed within a museum. As an integral part of MoMA PS1’s curatorial program, Warm Up seeks to elevate innovative and underrepresented voices and connect fans with music’s most important artists. The program’s alumni include contemporary creators Four Tet, Solange, Black Dice, Cardi B, Jamie XX, and Laurel Halo, as well as legendary DJs including Ritchie Hawtin, DJ Premier, and Total Freedom.


Rockaway! 2018: Narcissus Garden by Yayoi Kusama

July 01, 2018–September 03, 2018

Gateway National Recreation Area at Fort Tilden

This summer, MoMA PS1 will present Yayoi Kusama’s (Japan, b. 1929) site-specific installation of Narcissus Garden (1966–present) as the third iteration of Rockaway!, a free public art festival presented with Rockaway Artists Alliance, Jamaica Bay-Rockaway Parks Conservancy, National Park Service, and Bloomberg Philanthropies. Narcissus Garden will be on view from July 1 through September 3, 2018 at the Gateway National Recreation Area at Fort Tilden.

Comprised of 1,500 mirrored stainless steel spheres, Narcissus Garden will be on view in a former train garage from the time when Fort Tilden was an active U.S. military base. The mirrored metal surfaces will reflect the industrial surroundings of the now-abandoned building, drawing attention to Fort Tilden’s history as well as the devastating damage inflicted on many buildings in the area by Hurricane Sandy in 2012.

Rockaway! 2018 is presented by MoMA PS1 with Rockaway Artists Alliance, Jamaica Bay-Rockaway Parks Conservancy, National Park Service, and Bloomberg Philanthropies.


Modern Matinees: Barry Levinson

July 04, 2018–August 31, 2018


Director, screenwriter, producer, and sometime actor Barry Levinson (American, b. 1942) is perhaps best known for the films he set in his beloved Baltimore, a place rich in family, memory, loss, humor, and celebration. The city itself is practically a character in Diner (1982), Tin Men (1987), Avalon (1990), and Liberty Heights (1999). And though Levinson did occasionally move his films away from Baltimore, that depth of feeling has remained constant, as evidenced by his 1988 Best Director Oscar for Rain Man.

A writing veteran of such television variety series as The Marty Feldman Comedy MachineThe Tim Conway Show, and the iconic Carol Burnett Show, Levinson started in movies with the screenplay for Mel Brooks’s sidesplitting Silent Movie (1976). While this comedy background suffuses his work, there is also a poignant nostalgia in Levinson’s films, often set in a time that exists only in memory—and sometimes those memories are faulty. His Baltimore films, especially, speak to long-ago gatherings, when extended families lived under one roof and observed traditions brought with them to this country. They also address the nobility of the working class and a pride in excelling through ambition and an unbreakable work ethic. Levinson confronts bigotry and the concept of otherness in quiet ways, too, as in Liberty Heights or, more overtly, in Rain Man.

In recent years Levinson has returned to TV with a trio of ripped-from-the-headlines biopics for HBO: You Don’t Know Jack (2010), The Wizard of Lies (2017), and Paterno (2018).

This broad overview of Levinson’s distinctive career is drawn primarily from MoMA’s collection. Special thanks to HBO.

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


The Grandmaster: Lau Kar-leung

July 05, 2018–July 17, 2018


Many directors and actors have been associated with the kung fu genre, Hong Kong cinema’s most unique creation, but no one compares to Lau Kar-leung (1937–2013), aka Liu Chia-liang, as a purist of the genre and the kung fu form. Trained in the southern Hung Fist tradition, Lau practiced under his father, whose teacher was a direct disciple of Wong Fei-hung (1847–1924), the legendary martial artist and folk hero whose life has been fictionalized in over 100 films. This lineage formed the foundation of Lau’s work as both a director and kung fu practitioner.

Lau began performing stunts and small roles in movies at an early age, and joined the Shaw Brothers film studio in the 1960s as a martial arts instructor, choreographing and directing action scenes. His partnership with director Chang Cheh created such stunning swordplay films as One-Armed Swordsman (1967) and Golden Swallow (1968). The first martial arts instructor ever to become a director, Lau rose to the position with a unique vision. Diverging from Chang’s world of gut-spilling bloodbaths and machismo, Lau used his films to honor the holistic practice of kung fu—a discipline of both the body and mind. And unlike director King Hu (Come Drink with MeA Touch of Zen), who constructed fantastical, impressionistic movements inspired by Peking opera–style acrobatics and theatrics, Lau favored realistic combat, informed by the southern kung fu form that he had practiced all his life.

While many films feature invincible fighters at their pinnacle, Lau had a penchant for a martial artist’s training stage, dedicating ample screen time to the depiction of rigorous practice and the development of humility, kindness, and moral standing—the qualities that make a true master. Some of the training scenes have an almost documentary quality; the actors sometimes underwent grueling physical ordeals on set. Lau often embedded kung fu demonstrations in opening-credit sequences as well, offering moments for the art form to shine in its purest state. Intricately choreographed and performed fight scenes further underline the director’s intimate relationship with his art. Lau’s films are an ultimate ode to kung fu, and earned him the moniker The Grandmaster.

This series includes 10 films Lau made for the Shaw Brothers. The director himself appears in six of the films, in a variety of leading and supporting roles, alongside many of his favorite kung fu stars, including Gordon Liu Chia-hui, Kara Wai, and Hsiao Hao.

Organized by La Frances Hui, Associate Curator, Department of Film.

The exhibition is supported by the Annual Film Fund. 

Special thanks to Celestial Pictures, American Genre Film Archive, and Bede Cheng.


Reza Abdoh: Radical Visions

July 14, 2018–July 23, 2018


A polymath and self-described member of “a TV generation,” pioneering Iranian-American theater artist Reza Abdoh voraciously incorporated varied references to music videos, variety shows, film, dance, classical texts, BDSM, and more into his work, with equal parts poetry and rigor. Moving images played an essential role in the artist’s large-scale, interdisciplinary productions beginning in the mid-1980s. In his final working years he also turned to the cinematic form; his second feature remained unfinished at the time of his 1995 death from AIDS-related complications. In conjunction with the retrospective Reza Abdoh, currently on view at MoMA PS1, this series offers insight into the artist’s profound creative energy—films he directed and videos created collaboratively for productions—along with a recent documentary and a special evening of conversation.

Across disciplines, Abdoh confronted themes of transgression, violence, and abjection to speak to social and political upheaval and marginalization in America and around the world—with a demanding yet transcendent effect on cast members, audiences, and future scholars and followers of his work. While his media output was largely envisioned in the context of theatrical mise en scène, experiencing Abdoh onscreen is vital to the rediscovery of this essential creator, whose urgent anger, clarity of vision, and unique voice resonate two decades on.

Organized by Sophie Cavoulacos, Assistant Curator, Department of Film; with Negar Azimi, Tiffany Malakooti, and Babak Radboy, Bidoun; and Klaus Biesenbach, Director, MoMA PS1, and Chief Curator at Large, The Museum of Modern Art


Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980

July 15, 2018–January 13, 2019

Floor Three, The Robert Menschel Galleries

Press Preview: Tuesday, July 10, 9:30-11:30 a.m., with remarks to follow.

Remarks will be livestreamed.

The Museum of Modern Art will explore the architecture of the former Yugoslavia with Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980, the first major US exhibition to study the remarkable body of work that sparked international interest during the 45 years of the country’s existence. The exhibition will include more than 400 drawings, models, photographs, and film reels culled from an array of municipal archives, family-held collections, and museums across the region, introducing the exceptional built work of socialist Yugoslavia’s leading architects to an international audience for the first time.

The architecture that emerged during this period—from International Style skyscrapers to Brutalist “social condensers”—is a manifestation of the radical pluralism, hybridity, and idealism that characterized the Yugoslav state itself. Exploring themes of large-scale urbanization, technological experimentation and its application in everyday life, consumerism, monuments and memorialization, and the global reach of Yugoslav architecture, Toward a Concrete Utopia will feature work by important architects, including Bogdan Bogdanović, Juraj Neidhardt, Svetlana Kana Radević, Edvard Ravnikar, Vjenceslav Richter, and Milica Šterić. From the sculptural interior of the White Mosque in rural Bosnia, to the post-earthquake reconstruction of the city of Skopje based on Kenzo Tange’s Metabolist design, to the new town of New Belgrade with its expressive large-scale housing blocks and civic buildings, the exhibition will examine the unique range of forms and modes of production in Yugoslav architecture and its distinct yet multifaceted character.

Organized by Martino Stierli, The Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art, and Vladimir Kulić, Associate Professor, Florida Atlantic University, with Anna Kats, Curatorial Assistant, Department of Architecture and Design, The Museum of Modern Art.

Major support for the exhibition is provided by The International Council of The Museum of Modern Art and by The Contemporary Arts Council of The Museum of Modern Art.

Generous funding is provided by the Graham Foundation for Advanced Studies in the Fine Arts.

Additional support is provided by the Annual Exhibition Fund with major contributions from the Estate of Ralph L. Riehle, Alice and Tom Tisch, Mimi and Peter Haas Fund, Brett and Daniel Sundheim, Karen and Gary Winnick, The Marella and Giovanni Agnelli Fund for Exhibitions, and Oya and Bülent Eczacıbaşı.

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


A View from the Vaults: Recent Film Acquisitions

July 18, 2018–August 08, 2018


The Museum of Modern Art’s film collection now comprises more than 30,000 film titles. And with the 1996 opening of the Celeste Bartos Film Preservation Center in Hamlin, Pennsylvania, the Museum has a state-of-the-art facility where these moving-image treasures can be stored. This two-building complex, now operating for more than 20 years, gives us ample space and the ideal controlled environment in which to preserve materials essential to film history, and provides our staff with the ability to plan confidently for the acquisition, cataloging, and care of future films.

Comprised of recent additions, this series illustrates the collection’s enormous diversity, from classic and contemporary Hollywood feature productions (GiantButch Cassidy and the Sundance Kid, Amadeus), to independent works that explore social issues (Into the Abyss), to international films that portray cultural values not unlike our own (Waiting for HappinessSalaam Bombay!). We included a few just-plain-funny movies, too.

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


Constantin Brancusi Sculpture

July 22, 2018–February 18, 2019

Floor Two, Paul J. Sachs Galleries

Looking back at the first showing of Constantin Brancusi’s work (1876–1957) in the United States, in the 1913 Armory Show, one writer reflected that sculptures on view were “disturbing, so disturbing indeed that they completely altered the attitude of a great many New Yorkers towards a whole branch of art.” Indeed, Brancusi’s beguilingly simple forms looked like nothing else, then or since.

Rather than modeling clay like his peers, Brancusi carved his work directly from wood or stone, or cast it in bronze. Simultaneously, he rejected realism, preferring that his sculptures evoke rather than resemble the subjects named in their titles. Brancusi made bases for many of his sculptures, themselves complex constructions that became part of the work. He often moved works from base to base, or placed them directly on the floor of his studio, so that they lived in the world alongside ordinary objects, and among people.

Born in rural Romania, Brancusi moved to Paris in 1904, where he established his studio and quickly immersed himself in avant-garde art circles. In his adopted city, he embraced an experimental modern spirit, including an interest in modern machines and popular culture. With his friend Man Ray, he made films that captured his life in the studio—working with his materials and muses, activating his artworks through movement and recombination, and revealing his sources of inspiration such as animals at play, light in nature, and dance. Yet until his death he proudly presented himself as an outsider—cultivating his image as a peasant, with a long beard, work shirt, and sandals. The contradiction also informs his art making, which was dependent on ancient techniques as much as contemporary technologies.

This exhibition celebrates MoMA’s extraordinary holdings—11 sculptures by Brancusi will be shown together for the first time, alongside drawings, photographs, and films. A selection of never-before-seen archival materials shed light on the artist’s working process and relationships with friends, sitters, and patrons, including this Museum. What emerges is a rich portrait of an artist whose risk-taking and inventive approach to form changed the course of the art that followed.

Organized by Paulina Pobocha, Associate Curator, with Mia Matthias, Curatorial Fellow, Department of Painting and Sculpture

The exhibition is made possible by Monique M. Schoen Warshaw.

Major support is provided by The Contemporary Arts Council of The Museum of Modern Art, and by Jack Shear with The International Council of The Museum of Modern Art.

Additional support is provided by the Annual Exhibition Fund with major contributions from the Estate of Ralph L. Riehle, Alice and Tom Tisch, Mimi and Peter Haas Fund, Brett and Daniel Sundheim, Karen and Gary Winnick, The Marella and Giovanni Agnelli Fund for Exhibitions, and Oya and Bülent Eczacıbaşı.


The Future of Film Is Female

July 26, 2018–August 02, 2018


The current moment in the film industry is one of deep change and extraordinary opportunity, and we are presented with the responsibility to take the necessary steps toward a brighter, more inclusive future in which cinema can more accurately reflect the world around us. The Future of Film is Female is a proactive, positive gesture toward increased representation, equitable workplaces, and gender parity for women in cinema through the simple, yet powerful, act of screening their films.

Begun as a funding program for women developing short films, The Future of Film Is Female has expanded its mission, partnering with MoMA to champion contemporary films directed by women early in their careers, in an effort to have their voices represented and respected on equal footing with their male counterparts. This two-year, seasonal series begins with films by Shirin Neshat, Gillian Robespierre, Maysaloun Hamoud, Coralie Fargeat, and Erin Lee Carr; a special shorts program from the NoBudge movie club; and short film screenings before each feature. Subsequent seasons will reflect and respond to changes in filmmaking, financing, and exhibition, in addition to broader societal challenges.

The Future of Film Is Female is organized by Caryn Coleman, guest curator, and Rajendra Roy, The Celeste Bartos Chief Curator of Film, The Museum of Modern Art.

The exhibition is supported by The Museum of Modern Art’s Annual Film Fund.