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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La Noche Avanza (Night Falls). 1952. Mexico. Directed by Roberto Gavaldón. Courtesy Filmoteca UNAM

Mexico at Midnight: Film Noir from Mexican Cinema’s Golden Age

July 23, 2015–July 29, 2015

The Roy and Niuta Titus Theaters

Of all the great national, popular cinemas that prospered in the 20th century, the one that remains least well known to American audiences is, paradoxically, the one that originated closest to Hollywood. The Mexican cinema’s época de oro extended from the mid-1930s to the early 1960s, when Mexican films dominated Latin America and made significant inroads into Spanish-speaking communities in the U.S.

At its height, in the decade during and following World War II, Mexican popular filmmaking achieved a level of quality fully comparable to Hollywood, with a robust star system (with such magnetic performers as Dolores de Rio, Pedro Armendáriz, Maria Felix, and Arturo de Cordova), world-class directors like Roberto Gavaldón, Julio Bracho, and Emilio Fernandez, cinematographers such as Gabriel Figueroa and Alex Phillips, and the superb technical facilities of the Churubusco Studios.

With the support of Fundación Televisa, MoMA presents a sampling of one of Mexico’s richest genres, the ciné negro or film noir. As the critic Rafael Aviña has written, these films present the culture of the Miguel Alemán administration (1946–52), a time when Mexico was trying to trace a path to modernity by “favoring foreign investment, industrial development and the exploitation of natural resources, which led to a certain sense of civil disorder and an explosion of the senses.” Even seasoned noir fans will be startled and thrilled by these selections, which treat sexual passion and murderous jealousy with a vigor unimaginable in contemporary Hollywood productions.

Organized by Dave Kehr, Adjunct Curator, with Clay Farland, Department Assistant, Department of Film.

Special thanks to Mauricio Maillé, Fundación Televisa; Daniela Michel, Festival Internacional de Cine de Morelia; and Guadalupe Ferrer, José Manuel García, Filmoteca UNAM.

Gun Crazy. 1950. USA. Directed by Joseph H. Lewis. Courtesy The Museum of Modern Art Film Stills Archive

Scorsese Screens

August 05, 2015–September 06, 2015

The Roy and Niuta Titus Theaters

In tandem with the Scorsese Collects gallery exhibition, this series illuminates the conjunction of graphic and cinematic influences that shaped Martin Scorsese’s aesthetic. Thirty-three features from Britain, France, and the United States by his frequently acknowledged icons Michael Powell, Max Ophuls, and Jacques Tourneur are presented alongside noir, horror, comedy, adventure, and lesser-known B pictures by filmmakers such as Joseph H. Lewis, Stanley Kubrick, Jean Renoir, Preston Sturges, and Scorsese himself. All films are in 35mm unless otherwise indicated.

Organized by Dave Kehr, Adjunct Curator, and Ron Magliozzi, Associate Curator, with Sophie Cavoulacos, Curatorial Assistant, Department of Film.

Prints courtesy Twentieth Century Fox, Academy Film Archive, BFI, Cinématheque francaise, Institut Francaise, Janus Films, The Library of Congress, Martin Scorsese, NBCUniversal, Rialto Pictures, UCLA Film & Television Archive, and Warner Bros.

The Iron Ministry. 2014. USA/China. Directed by J.P. Sniadecki. Courtesy Icarus Films

MoMA Presents: J.P. Sniadecki’s The Iron Ministry

August 21, 2015–August 27, 2015

The Roy and Niuta Titus Theaters

J.P. Sniadecki filmed his evocative documentary The Iron Ministry over a period of three years while riding across China’s elaborate railway network. A veteran of Harvard’s Sensory Ethnography Lab, the filmmaker is attuned to the subtle audiovisual details of the train’s material environment—the squeals of locomotion, a power cable slicing across the sky—yet he also maintains a human scale. The movie’s agile, searching camera observes workers and passengers in the cramped economy cabins as they share a joke over cigarettes, discuss the promise and limits of the “Chinese Dream,” or sleep wherever space allows, sometimes in contorted angles of repose. The confines of the film’s setting may be narrow, but its implications—aesthetic, political, and otherwise—are expansive.

The Iron Ministry. 2014. USA/China. Directed by J.P. Sniadecki. Courtesy Icarus Films. In Mandarin; English subtitles. 82 min.
Friday, August 21, 7:00 p.m. (Introduction and Q&A with Sniadecki)
Saturday, August 22, 4:00 p.m.
Sunday, August 23, 2:00 p.m.
Monday, August 24, 7:00 p.m.
Tuesday, August 25, 7:00 p.m.
Wednesday, August 26, 7:00 p.m.
Thursday, August 27, 7:00 p.m.

Organized by Thomas Beard, independent curator.

Stromboli. 1950. Italy/USA. Directed by Roberto Rossellini. Courtesy The Museum of Modern Art Film Stills Archive

Ingrid Bergman: A Centennial Celebration

August 29, 2015–September 10, 2015

The Roy and Niuta Titus Theaters

August 29 marks the 100th anniversary of Ingrid Bergman’s birth, an occasion MoMA will observe with a selection of films from her 50-year career—as chosen and, where possible, introduced by her children Pia Lindström, Isabella Rossellini, and Ingrid Rossellini.

The emotional transparency of Bergman’s performing style blended with her great natural beauty to create a different kind of movie star. When she arrived in America, in 1939, to star in a remake of her 1936 Swedish film Intermezzo, the producer David O. Selznick recognized in the 24-year-old a new freshness and accessibility—a radical break with the artificially elaborate notions of “glamour” that had been synonymous with female stars in Hollywood since the late silent era. In films like Casablanca (1942), Gaslight (1944) and Notorious (1946), Bergman seemed to speak directly to her public, cutting through melodramatic conventions.

Bergman’s search for authenticity eventually led to Italy, where she made five features with the pioneering Neorealist director Roberto Rossellini, a body of work now recognized as one of the foundations of modern cinema. After her relationship with Rossellini ended, Bergman continued to work with some of the medium’s most creative filmmakers. Her last theatrical film, Ingmar Bergman’s Autumn Sonata (1978), brought her back to her native Sweden.

The retrospective is presented in conjunction with BAM’s The Ingrid Bergman Tribute and Ingrid Bergman, a film retrospective, running September 12—28.

Organized by Dave Kehr, Adjunct Curator, and Sophie Cavoulacos, Curatorial Assistant, Department of Film, in memory of Jytte Jensen.

Trouble in Paradise. 1932. USA. Directed by Ernst Lubitsch

Modern Matinées: Earliest Days

September 02, 2015–September 30, 2015

The Roy and Niuta Titus Theaters

In September 2015 we introduce 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 Department of Film—originally called the Film Library—was founded in July 1935. The incorporation documents were signed by Trustees John Hay Whitney, A. Conger Goodyear and Nelson A. Rockefeller, establishing a collection that, in “An Outline of a Project for Founding the Film Library of The Museum of Modern Art,” library director John Abbott and curator Iris Barry vowed would be “inclusive, yet selective.”

This inaugural edition of Modern Matinees celebrates the Department of Film’s 80th anniversary with a selection of films that broadly illustrate the scope of donations the motion picture industry made to MoMA following Iris Barry’s momentous 1935 visit to Hollywood.

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

Mangelos (Dimitrije Bašicevic). Manifest de la relation. 1976. Synthetic polymer paint on globe made of plastic and metal. © 2015 Estate of Mangelos (Dimitrije Bašicevic).

Transmissions: Art in Eastern Europe and Latin America, 1960–1980

September 05, 2015–January 03, 2016

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

Transmissions: Art in Eastern Europe and Latin America, 1960–1980 focuses on the parallels and connections among an international scene of artists working in—and in reference to—Latin America and Eastern Europe during the 1960s and 1970s. The radical experimentation, expansion, and dissemination of ideas that marked the cultural production of these decades (which flanked the widespread student protests of 1968) challenge established art-historical narratives in the West. Artists from Prague to Mexico City developed alternative and ever-expanding networks of distribution and organization, via Paris, Vienna, and Venice, to circumvent the borders established after World War II, local forms of state and military repression, and Western accounts of artistic mastery and individualism. One major transformation across Latin American and Eastern European art scenes was the embrace of institutional critique and an emphasis on the creation of art outside a market context.

The exhibition brings together landmark works from MoMA’s collection by Eastern European artists including Geta Brặtescu, Tomislav Gotovac, Ion Grigorescu, Sanja Iveković, Dóra Maurer, and the anti-art collectives Gorgona, OHO, Aktual, and Fluxus East, as well as Latin American artists such as Beatriz González, Antonio Dias, Lea Lublin, and Ana Mendieta. Particular attention is paid to the group of Argentine artists clustered around the influential Instituto Torcuato Di Tella, including Oscar Bony, David Lamelas, and Marta Minujín, who confronted the aesthetic and political implications of mass media communication—including film, television, and the telex—during a vibrant, experimental period of technological innovation and political tension.

Featuring series of works and major installations, several of which are on view for the first time, Transmissions: Art in Eastern Europe and Latin America, 1960–1980 highlights multiple points of contact, often initiated and sustained through collective actions and personal exchanges between artists. The exhibition suggests possible counter-geographies, realignments, alternative models of solidarity, and new ways of thinking about art produced internationally in relation to the frameworks dictated by the Cold War.

Organized by Stuart Comer, Chief Curator, Department of Media and Performance Art; Roxana Marcoci, Senior Curator, Department of Photography; and Christian Rattemeyer, Associate Curator, Department of Drawings and Prints; with Giampaolo Bianconi and Martha Joseph, Curatorial Assistants, Department of Media and Performance Art.

Support for the exhibition is provided by the MoMA Annual Exhibition Fund.

Banketten (The Banquet). 1948. Sweden. Directed by Hasse Ekman. Courtesy Swedish Film Institute

Hasse Ekman: The Other Swede in the Room

September 09, 2015–September 18, 2015

The Roy and Niuta Titus Theaters

A director, writer, and actor of major gifts, Hasse Ekman would today be rightly remembered as one of Sweden’s greatest filmmakers were it not for the overshadowing presence in his life of Ingmar Bergman, Ekman’s contemporary, occasional collaborator, and constant competitor. The son of the legendary Swedish star Gösta Ekman (with whom he appears, opposite Ingrid Bergman, in Gustaf Molander’s 1936 Intermezzo), Hasse Ekman apprenticed with Ingmar Bergman at Lorens Marmstedt’s production company, Terrafilm, ably attacking a range of genres from war films to screwball comedies. After portraying a bitterly cynical director in Bergman’s 1949 Prison, Ekman offered an answer film of sorts in The Girl from the Third Row, countering Bergman’s hellish vision with a message of hope and humor. Yet Ekman was no cockeyed optimist: his best known film, the 1950 Girl with Hyacinths, is a strikingly modern psychological drama that Bergman himself recognized as “an absolute masterpiece.”

On this, the 100th anniversary of Ekman’s birth (September 10, 1915), MoMA presents a series aimed at bolstering this neglected master’s reputation in America. Programmed with the Swedish film scholar Fredrik Gustafsson, the series offers 10 films from Ekman’s long and diverse career, many of them being presented for the first time in the U.S. with English subtitles.

Organized by Dave Kehr, Adjunct Curator, Department of Film, MoMA. Special thanks to Jon Wengstrom and Johan Ericsson, Svenska Filminstitutet; and Charlotta Bjuvman, Telepicture Marketing, Ltd.

Pablo Picasso (Spanish, 1881–1973) Bull. Cannes, c. 1958. Plywood, tree branch, nails, and screws. 46 1/8 x 56 3/4 x 4 1/8″ (117.2 x 144.1 x 10.5 cm). The Museum of Modern Art, New York. Gift of Jacqueline Picasso in honor of the Museum’s continuous commitment to Pablo Picasso’s art. © 2014 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

Picasso Sculpture

September 14, 2015–February 07, 2016

Fourth Floor galleries

Picasso Sculpture is a sweeping survey of Pablo Picasso’s profoundly innovative and influential work in three dimensions. The largest museum exhibition of Picasso’s sculptures to take place in the United States in nearly half a century, the exhibition brings together around 150 sculptures from Picasso’s entire career via loans from major public and private collections in the U.S. and abroad, with the largest selection of works coming from the Musée national Picasso–Paris. With many works on view for the first time in the U.S., the exhibition provides an opportunity to explore a rarely seen aspect of Picasso’s large and prolific career. MoMA is the sole venue.

Over the course of his long career, Picasso devoted himself to sculpture wholeheartedly, if episodically, using both traditional and unconventional materials and techniques. Unlike painting, in which he was formally trained and through which he made his living, sculpture occupied a uniquely personal and experimental status in Picasso’s oeuvre. He approached the medium with the freedom of an autodidact, ready to break all rules. This attitude led him to develop a deep fondness for his sculptures, to which the many photographs of his studios and homes bear witness. Treating them almost as members of his household, he cherished their company and enjoyed recreating them in a variety of materials and situations. Picasso kept the majority of them in his private possession during his lifetime. It was only in 1966, through the large Paris retrospective Hommage à Picasso, that the public became fully aware of this side of his oeuvre. Following that exhibition, in 1967 MoMA presented The Sculpture of Picasso, which remains the first and last exhibition on this continent to survey the artist’s sculptures.

Picasso Sculpture will be installed throughout the entire fourth floor of MoMA’s galleries, allowing sufficient space for the sculptures to be viewed fully in the round. The exhibition will include a selection of relevant works on paper and about 30 of the remarkable photographs of Picasso’s sculptures taken by Brassaï (French, born Transylvania, 1899–1984). Picasso Sculpture is organized in chapters corresponding to the distinct periods during which the artist devoted himself to sculpture, each time exploring with fresh intensity the modern possibilities of this ancient art form. The exhibition focuses on the artist’s lifelong engagement with this genre from the point of view of materials and processes. The aim is to advance the understanding of what sculpture was for Picasso, and of how he revolutionized its history through a lifelong commitment to constant reinvention.


Organized by The Museum of Modern Art in collaboration with the Musée national Picasso–Paris.

The exhibition at MoMA is made possible by Hyundai Card.

Major support is provided by Monique M. Schoen Warshaw, Marie-Josée and Henry Kravis, Robert Menschel and Janet Wallach, and Sue and Edgar Wachenheim III.
Generous funding is provided by Cornelia T. Bailey.
Additional support is provided by the MoMA Annual Exhibition Fund with major contributions from an anonymous donor, The Contemporary Arts Council of The Museum of Modern Art, Glenn and Eva Dubin, Blavatnik Family Foundation, The Donald R. Mullen Family Foundation, Inc., The Junior Associates of The Museum of Modern Art, Mimi and Peter Haas Fund, Franz Wassmer, Gary and Karen Winnick, and from Susan and Leonard Feinstein.
This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Support for the publication is provided by The International Council of The Museum of Modern Art and by the Jo Carole Lauder Publications Fund of The International Council of The Museum of Modern Art.
Education programs for this exhibition are made possible by a partnership with Volkswagen of America.
MoMA Audio+ is supported by Bloomberg Philanthropies.
Tired Moonlight. 2014. USA. Directed by Britni West. Courtesy the filmmaker

MoMA Presents: Britni West’s Tired Moonlight

September 17, 2015–September 23, 2015

The Roy and Niuta Titus Theaters

Britni West’s directorial debut, which won the Jury Award for Narrative Feature at this year’s Slamdance Film Festival, discovers homespun poetry among the good folk of the filmmaker’s native Kalispell, Montana. Kalispell is a small town populated by lonely hearts engaging in awkward one-night stands, children with starry eyes and bruised knees, stock-car drivers, junkyard treasure hunters, and bighorn sheep. Rarely has Big Sky Country cast such a sweetly comic and tender spell. Photographed in Super-16mm by Adam Ginsberg and featuring a mostly nonprofessional cast (with the exception of indie favorite Alex Karpovsky) in semi-fictionalized roles, Tired Moonlight is a sui generis slice of contemporary naturalism. (Text adapted from New Directors/New Films 2015 program notes.)

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

Nation Estate. 2013. Palestine/Denmark. Directed by Larissa Sansour.

Films from Here: Recent Views from the Arab World

September 24, 2015–September 29, 2015

The Roy and Niuta Titus Theaters

Films from Here provides a snapshot of contemporary filmmaking from the Middle East and North Africa through the lens of The Arab Fund for Arts and Culture (AFAC), an independent grant-making organization founded in 2007. While international coproductions are increasingly the norm in the industry, AFAC also posits itself as a champion of daring and impactful artistic expression in a time when limited production frameworks are exacerbated by turmoil throughout the Arab world.

The six features and two short films in this series, which were made between 2013 and 2015, emphasize a rich blend of narrative, documentary, and experimental traditions and act as a counterpoint to mass media images from the region. While these works often respond to the political and social conditions of their native countries—Lebanon, Egypt, Syria, Tunisia, Morocco, and Palestine—they approach their subjects through archival research, found footage, reenactment, satire, genre, and auteurist storytelling. 

Most screenings are New York premieres, and most will feature conversations with filmmakers. See for full details and screening schedule. All films are in Arabic with English subtitles, unless otherwise noted.

Twenty-Eight Nights and a Poem. 2015. Lebanon. Directed by Akram Zaatari.105 min.
The Valley. 2014. Lebanon. Directed by Ghassan Salhab. 135 min.
Out on the Street. 2015. Egypt. Directed by Philip Rizk and Jasmina Metwaly. 71 min. Preceded by And on Different Note. 2015. Egypt. Directed by Mohammad Shawky Hassan. 24 min.
Silvered Water, Syria Self-Portrait. 2014. Syria. Directed by Ossama Mohammed and Wiam Simav Bedirxan. 92 min.
Challat of Tunis. 2013. Tunisia. Directed by Kaouther Ben Hania. 89 min.
The Sea is Behind. 2014. Morocco. Directed by Hicham Lasri. 88 min. Preceded by Nation Estate. 2013.
Palestine. Directed by Larissa Sansour. 9 min.

Organized by Sophie Cavoulacos, Curatorial Assistant, Department of Film. Presented in association with The Arab Fund for Arts and Culture.

Support is provided by the Ford Foundation.