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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Aleksandr Rodchenko (Russian, 1891-1956). Pioneer with a Bugle. 1930. Gelatin silver print. 9 1/4 x 7 1/16" (23.5 x 18 cm). The Museum of Modern Art, New York. Gift of the Rodchenko Family.

A Revolutionary Impulse: The Rise of the Russian Avant-Garde

December 03, 2016–March 12, 2017

South Gallery, third floor

The Museum of Modern Art presents A Revolutionary Impulse: The Rise of the Russian Avant-Garde, an exhibition that brings together 260 works from MoMA’s collection, tracing the arc of a period of artistic innovation between 1912 and 1935. Planned in anticipation of the centennial year of the 1917 Russian Revolution, the exhibition highlights breakthrough developments in the conception of Suprematism and Constructivism, as well as in avant-garde poetry, theater, photography, and film, by such figures as Alexandra Exter, Natalia Goncharova, El Lissitzky, Kazimir Malevich, Vladimir Mayakovsky, Lyubov Popova, Alexandr Rodchenko, Olga Rozanova, Vladimir and Georgii Stenberg, and Dziga Vertov, among others.

The exhibition features a rich cross-section of works across several mediums—opening with displays of pioneering non-objective paintings, prints, and drawings from the years leading up to and immediately following the Revolution, followed by a suite of galleries featuring photography, film, graphic design, and utilitarian objects, a transition that reflects the shift of avant-garde production in the 1920s. Made in response to changing social and political conditions, these works probe and suggest the myriad ways that a revolution can manifest itself in an object.

Organized by Roxana Marcoci, Senior Curator, Department of Photography and Sarah Suzuki, Curator, Department of Drawings and Prints; with Hillary Reder, Curatorial Assistant, Department of Drawings and Prints.

The exhibition is supported by the Annual Exhibition Fund.

Il Sorpasso (1962 Italy)
Directed by Dino Risi
Shown: Jean-Louis Trintignant (left, as Roberto Mariani), Vittorio Gassman (right, as Bruno Cortona)

Dino Risi

December 14, 2016–January 06, 2017

The Roy and Niuta Titus Theaters

Dino Risi’s comedies are a devilish piece of work, lampooning the politicians, playboys, and priests of postwar Italy. Together with Mario Monicelli, Luigi Comencini, and Ettore Scola, Risi (1916–2008) enjoyed tremendous commercial and critical success during “Il Boom,” the Italian economic miracle of the 1950s and 1960s. At his best, Risi was a caricaturist in the vein of Honoré Daumier, using exaggerated grotesqueries to sweeten the bitterness of his social satire. His films are populated by a rogue’s gallery of shamelessly loveable commedia all’Italiana types in the inimitable guises of some of the era’s greatest actors: Alberto Sordi, Vittorio Gassman, Nino Manfredi, Ugo Tognazzi, and Sophia Loren.

Presented by MoMA in collaboration with Luce Cinecittà, Rome, this major retrospective opens with the New York premiere of the new 4K restoration of The Easy Life (1962). Newly struck 35mm prints of 14 other Dino Risi films are featured, including Belle ma povere (1957), The Widower (1959), and Scent of a Woman (1974). Additionally, the retrospective offers a deeper appreciation of the Milanese writer-director’s career by premiering recently rediscovered documentaries that he made, literally, in the ashes of World War II—Neorealist portraits of Lombardic and Neapolitan street life and culture between 1946 and 1950. Also included are such underappreciated gems as Love and Larceny (1960), March on Rome (1962), The Thursday (1966), and In the Name of the Italian People (1971), all presented in 35mm archival prints.

All films are in 35mm, from Italy, directed by Dino Risi, and in Italian with English subtitles, unless otherwise noted.

Organized by Joshua Siegel, Curator, Department of Film, MoMA, and Camilla Cormanni and Paola Ruggiero, Luce Cinecittà. Special thanks to Sergio Toffetti, Director of the Cineteca Nazionale; and Janus Films.; and Izzy Lee and Mónica Rios.

All This Panic. 2016. USA. Directed by Jenny Gage. Courtesy the filmmaker

Best Film Not Playing at a Theater Near You

December 16, 2016–December 19, 2016

The Roy and Niuta Titus Theaters

MoMA’s Department of Film, in association with IFP and its quarterly publication Filmmaker, brings you highlights from the festival circuit that have yet to be picked up for theatrical distribution, along with other discoveries, from visual artists working in the moving image to the latest indies not available in theaters. Responding to the proliferation of digital distribution platforms, this series is dedicated to bringing New York audiences conversations around independent cinema and in-person engagement with filmmakers. Now in its 11th year, Best Film Not Playing at a Theater Near You has become an invaluable resource for any cinephile who wants to catch the newest talent in American filmmaking on the big screen.

Filmmakers take part in Q&As following selected screenings.

The films included in this year’s Best Film Not Playing at a Theater Near You are listed below. Film information and screening schedule available here.

The Nine
Hotel Dallas
All This Panic
The Pearl
Free in Deed

Organized by Sophie Cavoulacos, Assistant Curator, Department of Film, The Museum of Modern Art; Scott Macaulay, Editor, and Vadim Rizov, Managing Editor, Filmmaker magazine; and Milton Tabbot, Senior Director, Programming, IFP.

By Stork Delivery. 1916. USA. Directed by Fred Fishback

Cruel and Unusual Comedy: Astonishing Shorts from the Slapstick Era

January 13, 2017–January 26, 2017

The Roy and Niuta Titus Theaters

From its first appearance in May 2009, MoMA’s Cruel and Unusual Comedy series has explored the vast subconscious that is American slapstick comedy of the early 20th century. These unruly, unpretentious short films were made to be instantly consumed and quickly forgotten, just one component of the many that once made up an evening at the movies. The filmmakers flung themselves heedlessly into a wide range of discomfiting social, cultural, political, and aesthetic topics, including ethnic stereotypes, domestic abuse, sexual identity, violence, and even the plague of Chaplin imitators. Like today’s stand-up comedians, the eccentric comics of the 1910s and 1920s found their material in the anxieties of the moment, and their work reveals, for better or worse, an America often hidden in the more polished feature films of the period.

Here in its fifth edition, Cruel and Unusual Comedy draws on the Museum’s extensive holdings of silent comedy, acquired largely in the 1970s and 1980s by Eileen Bowser during her tenure as the head of MoMA’s Department of Film. The majority of films to be screened are archival rarities, many preserved from the only known copies. Among the featured comics are both enduring favorites, like Harold Lloyd and Our Gang, and lesser-known figures such as Al St. John, Hank Mann, Alice Howell, Paul Parrott, and the robust comic trio A Ton of Fun.

Organized by Dave Kehr, Adjunct Curator, Department of Film, MoMA, and independent curators Steve Massa and Ben Model. Special thanks to Eileen Bowser, Ron Magliozzi, and the late Charles Silver.

Alexandra Bachzetsis. Massacre: Variations on a Theme. 2016. Rehearsal image. © 2016 Alexandra Bachzetsis. Photographer: Sotiris Vassiliou

Massacre: Variations on a Theme

January 17, 2017–January 31, 2017

Donald B. and Catherine C. Marron Atrium

MoMA presents Massacre: Variations on a Theme, a major new performance commission by Alexandra Bachzetsis. Comprising choreography for three dancers, a musical composition for two pianos, and video elements, Bachzetsis’ evening-length performance investigates the persistence of popular rituals with a physical and visual vocabulary drawn from classic Northern Soul, Techno dancing, and traditions of La Sape and the Yoruba people. During regular Museum hours, from January 17 through 31, the space will feature a video installation, with open rehearsals on January 21, 22, and 23. Ticketed performances will take place in the evening on January 24, 25, 27, and 28. Ticketing information will be available soon.

Bachzetsis is a choreographer and visual artist based in Switzerland and Athens, Greece. Her practice unfolds at the intersection of dance, performance, the visual arts, and theater. Collaboration, transference, live feed video, and a plurality of voices and bodies have informed Bachzetsis’ work. Her work has been exhibited in a variety of contemporary art spaces and museums, including Kunsthalle Basel (Basel, 2008), the Stedelijk Museum (Amsterdam, 2013 and 2015), Tate Modern (London, 2014) and the Jumex Museum (Mexico City, 2014), as well as a number of international biennials, such as the 5th Berlin Biennial (Berlin, 2008), (d)OCUMENTA 13 (Kassel, 2012) and the Biennial of Moving Images (Geneva, 2014). Bachzetsis was nominated for the DESTE Prize (2011) and is a laureate of the Migros Kulturprozent Jubilee Award (2007), the Swiss Performance Prize (2012), and the Swiss Art Award (2016).

Organized by Stuart Comer, Chief Curator, Department of Media and Performance Art, MoMA, with Giampaolo Bianconi, Curatorial Assistant, Department of Media and Performance Art, and produced by Lizzie Gorfaine, Performance Producer.

Generous funding for the exhibition is provided by The Contemporary Arts Council of The Museum of Modern Art and by The Modern Women’s Fund.

Special thanks to Yamaha Artist Services, New York.

Additional support is provided by the Annual Exhibition Fund.


Anne Teresa De Keersmaeker’s Work/Travail/Arbeid March 25, 2017–April 02, 2017

Anne Teresa De Keersmaeker’s Work/Travail/Arbeid

March 25, 2017–April 02, 2017


The Museum of Modern Art will present Anne Teresa De Keersmaeker’s Work/Travail/Arbeid in 2017. De Keersmaeker’s starting point is the simple question: can a choreography be performed in the form of an exhibition? As an answer to that question, she reinterpreted her dance performance Vortex Temporum (2013) for the radically different temporal and special circumstances of a museum space. The original length of the choreography, fitted to the condensed duration of a performance, was expanded into cycles of nine hours and interpreted again according to the characteristics of the museum. The original version of the exhibition lasted nine weeks and was held from March 20 to May 17, 2015, in the WIELS centre for contemporary art (Brussels). The abridged travel version of the exhibition has been re-choreographed and recreated for the unique space of the specific museums where it is on view.

The Centre Pompidou (Paris) presented the work from February 26 to March 6, 2016. The installation was then on display at Tate Modern, London, between July 8 and 10, 2016, and will be on view at The Museum of Modern Art from March 25 until April 2, 2017.

Organized by Ana Janevski, Associate Curator, with Martha Joseph, Curatorial Assistant, Department of Media and  Performance Art.

MoMA_Lawler_Why Pictures Now


April 30, 2017–July 30, 2017

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

Louise Lawler: WHY PICTURES NOW is the first major survey in New York of the artist Louise Lawler (American, b. 1947), spanning the 40-year creative output of one of the most influential artists working in the fields of image production and institutional critique. The exhibition takes its title from one of Lawler’s most iconic works, Why Pictures Now (1982), a black-and-white photograph showing a matchbook propped up in an ashtray. Reminiscent of an advertising photograph or a film noir still, it asks the viewer to consider why the work takes the form of a picture, and why the artist is making pictures now. Lawler came of age as part of the Pictures Generation, a loosely knit, highly independent group of artists named for an influential exhibition, Pictures, organized in 1977 by art historian Douglas Crimp at Artists Space in New York. These artists used photography and appropriation-driven strategies to examine the functions and codes of representation. Lawler’s signature style was established in the late 1970s and early 1980s, when she began taking pictures of other artists’ works displayed in collectors’ homes, museums, storage spaces, and auction houses to question the value, meaning, and use of art. WHY PICTURES NOW is organized by Roxana Marcoci, Senior Curator, with Kelly Sidley, Curatorial Assistant, Department of Photography.

Major support for the exhibition is provided by The Andy Warhol Foundation for the Visual Arts and by The Modern Women’s Fund.

Generous funding is provided by David Dechman and Michel Mercure.

Additional support is provided by the Annual Exhibition Fund.

Peter Moore. Photograph of Robert Rauschenberg’s Pelican (1963) as performed in a former CBS television studio, New York, during the First New York Theater Rally, May 1965. Photo © Barbara Moore/Licensed by VAGA, New York, NY. Courtesy Paula Cooper Gallery, New York. © 2016 Robert Rauschenberg Foundation

Robert Rauschenberg

May 21, 2017–September 17, 2017


In 1959, Robert Rauschenberg wrote, “Painting relates to both art and life. Neither can be made. (I try to act in that gap between the two.)” His work in this gap shaped artistic practice for decades to come.

The early 1950s, when Rauschenberg (1925–2008) launched his career, was the heyday of the heroic gestural painting of Abstract Expressionism. Rauschenberg challenged this tradition with an egalitarian approach to materials, bringing the stuff of the everyday world into his art. Working alone and in collaboration with artists, dancers, musicians, and writers, he invented new, interdisciplinary modes of artistic practice that set the course for art of the present day. The ethos that permeates Rauschenberg’s work—openness, commitment to dialogue and collaboration, and global curiosity—makes him, now more than ever, a touchstone for our troubled times.

Robert Rauschenberg, the first 21st-century retrospective of the artist, presents work from six decades of his widely celebrated career in fresh ways, bringing together over 250 paintings, sculptures, drawings, prints, photographs, and sound and video recordings. Acclaimed artist and filmmaker Charles Atlas is collaborating on the exhibition’s design to foreground Rauschenberg’s work with dance and performance. MoMA’s presentation is structured as an “open monograph”—as other artists came into Rauschenberg’s creative life, they come into the exhibition, mapping the exchange of ideas. These figures include John Cage, Merce Cunningham, Sari Dienes, Jasper Johns, Billy Klüver, Yvonne Rainer, Paul Taylor, David Tudor, Cy Twombly, Susan Weil, and many others.

The exhibition is organized by The Museum of Modern Art, New York, and Tate Modern, London.

Organized by Leah Dickerman, The Marlene Hess Curator of Painting and Sculpture, The Museum of Modern Art, and Achim Borchardt-Hume, Director of Exhibitions at Tate Modern, with Emily Liebert and Jenny Harris, Curatorial Assistants, Department of Painting and Sculpture, The Museum of Modern Art.

Bank of America is the Global Sponsor of Robert Rauschenberg.

The exhibition is supported at Tate Modern and The Museum of Modern Art by the Terra Foundation for American Art.

Major support for the New York presentation is provided by Glenn and Eva Dubin, Monique M. Schoen Warshaw, Mrs. Ronnie F. Heyman, Sue and Edgar Wachenheim III, and by Sue and Edgar Wachenheim III in honor of Jerry I. Speyer.

Additional support is provided by the Annual Exhibition Fund with major contributions from Alice and Tom Tisch, Glenn and Eva Dubin, The Donald R. Mullen Family Foundation, Inc., The Contemporary Arts Council of The Museum of Modern Art, Mimi and Peter Haas Fund, Brett and Daniel Sundheim, Karen and Gary Winnick, and The Junior Associates of The Museum of Modern Art.

Liberty Magazine Cover. 1926. Color pencil on paper. 24 1/2 x 28 1/4″ (62.2 x 71.8 cm). The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York).

Frank Lloyd Wright at 150: Unpacking the Archive

June 12, 2017–October 01, 2017


Frank Lloyd Wright at 150: Unpacking the Archive is a major exhibition on Frank Lloyd Wright that critically engages his multifaceted practice. Wright was one of the most prolific and renowned architects of the 20th century, a radical designer and intellectual who embraced new technologies and materials, pioneered do-it-yourself construction systems as well as avant-garde experimentation, and advanced original theories with regards to nature, urban planning, and social politics. Marking the 150th anniversary of the American architect’s birth on June 8, 1867, the exhibition will comprise approximately 450 works made from the 1890s through the 1950s, including architectural drawings, models, building fragments, films, television broadcasts, print media, furniture, tableware, textiles, paintings, photographs, and scrapbooks, along with a number of works that have rarely or never been publicly exhibited. Structured as an anthology rather than a comprehensive, monographic presentation of Wright’s work, the exhibition is divided into 12 sections, each of which investigates a key object or cluster of objects from the Frank Lloyd Wright Archive, interpreting and contextualizing it, as well as juxtaposing it with other works from the Archive, from MoMA, or from outside collections. The exhibition seeks to open up Wright’s work to critical inquiry and debate, and to introduce experts and general audiences alike to new angles and interpretations of this extraordinary architect. Frank Lloyd Wright at 150: Unpacking the Archive is organized by MoMA in collaboration with the Avery Architectural & Fine Arts Library, Columbia University, New York, and organized by Barry Bergdoll, Curator, Department of Architecture and Design, MoMA, and the Meyer Schapiro Professor of Art History and Archaeology, Columbia University.

White T-shirt. Image courtesy Shutterstock/SFIO CRACHO

Items: Is Fashion Modern?

October 01, 2017–January 28, 2018

Sixth floor

In October of 2017, The Museum of Modern Art will present Items: Is Fashion Modern?, an exhibition that will consist of a selection of 99 garments and accessories that have had a strong impact on history and society in the 20th and 21st centuries, and continue to hold currency today. The exhibition will examine the way in which these wearable items are designed, manufactured, distributed, and used, while exploring the wide range of relationships between clothing and functionality, cultural etiquettes, aesthetics, politics, labor, economy, and technology. Designs as well-known and transformative as Levi’s 501s, the Casio watch, and the Little Black Dress, and as ancient and culturally charged as the kippah and the keffiyeh, will allow viewers to explore numerous issues to which these items have contributed, produced, and shaped over many decades.

The exhibition is organized by Paola Antonelli, Senior Curator, and Michelle Millar Fisher, Curatorial Assistant, Department of Architecture and Design. This is the first exhibition in which Antonelli—whose previous exhibitions at MoMA include SAFE: Design Takes on Risk (2005), Talk to Me (2011) and, most recently, the online project Design and Violence (2014–15)—has addressed design as it relates to fashion. MoMA’s collection includes such featured items as Nervous System’s 4-D-printed Kinematics Dress (acquired in 2014), the Fruit of the Loom T-shirt featured in Humble Masterpieces (2004), Issey Miyake’s A-POC Queen Textile (1997), and a beautiful Mariano Fortuny Delphos dress (1907).

Each of the 99 items will be explored along three tiers: archetype, stereotype, and prototype. In the exhibition, each item will be presented in the incarnation that made it significant in the last 100 (or so) years—the stereotype—accompanied by contextual material tracing back to its historical archetype. In some cases, when innovation, opportunity, or necessity call for it, the item will be complemented by a new commission, or prototype. The exhibition title—Items: Is Fashion Modern?—reprises the question that architect and curator Bernard Rudofsky raised with his 1944 MoMA exhibition Are Clothes Modern?, which is the only other time MoMA has fully addressed this field of design.