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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Cut Piece (1964) performed by Yoko Ono in New Works of Yoko Ono, Carnegie Recital Hall, New York, March 21, 1965. Photograph by Minoru Niizuma. ©Minoru Niizuma. Courtesy Lenono Photo Archive, New York

Yoko Ono: One Woman Show, 1960–1971

May 17, 2015–September 07, 2015

The International Council of The Museum of Modern Art Gallery, sixth floor

The Museum of Modern Art presents its first exhibition dedicated exclusively to the work of Yoko Ono, taking as its point of departure the artist’s unofficial MoMA debut in late 1971. At that time, Ono advertised her “one woman show,” titled Museum of Modern [F]art. However, when visitors arrived at the Museum there was little evidence of her work. According to a sign outside the entrance, Ono had released flies on the Museum grounds, and the public was invited to track them as they dispersed across the city. Now, over 40 years later, Yoko Ono: One Woman Show, 1960–1971 surveys the decisive decade that led up to Ono’s unauthorized exhibition at MoMA, bringing together approximately 125 of her early objects, works on paper, installations, performances, audio recordings, and films, alongside rarely seen archival materials. A number of works invite interaction, including Painting to Be Stepped On (1960/1961) and Ono’s groundbreaking performance, Bag Piece (1964). The exhibition draws upon the 2008 acquisition of the Gilbert and Lila Silverman Fluxus Collection Gift, which added approximately 100 of Ono’s artworks and related ephemera to the Museum’s holdings. Yoko Ono: One Woman Show, 1960–1971 is organized by Christophe Cherix, The Robert Lehman Foundation Chief Curator of Drawings and Prints; and Klaus Biesenbach, Chief Curator at Large, MoMA, and Director, MoMA PS1; with Francesca Wilmott, Curatorial Assistant, Department of Drawings and Prints.

The exhibition is made possible by illy.

Major support for the exhibition is provided by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation, BNP Paribas, and The Modern Women’s Fund.

Additional funding is provided by the MoMA Annual Exhibition Fund.

Grete Stern. Dreams No. 1. 1949. Gelatin silver print. 10 1/2 x 9" (26.6 x 22.9 cm). Latin American and Caribbean Fund through gift of Marie Josée and Henry R. Kravis in honor of Adriana Cisneros de Griffin. © 2014 Galería Jorge Mara-La Ruche

From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola

May 17, 2015–October 04, 2015

The Edward Steichen Photography Galleries, third floor

Press Preview: Thursday, May 14, 2015, 9:30–11:30 a.m.

From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola is the first major exhibition of the German-born Grete Stern and the Argentinean Horacio Coppola, two leading figures of avant-garde photography who established themselves on both sides of the Atlantic. In Berlin in 1927, Stern began taking private classes with Walter Peterhans, who was soon to become head of photography at the Bauhaus. A year later, in Peterhans’s studio, she met Ellen (Rosenberg) Auerbach, with whom she opened a pioneering studio specializing in portraiture and advertising. Named after their childhood nicknames, the studio ringl + pit embraced both commercial and avant-garde loyalties, creating proto-feminist works. In Buenos Aires during the same period, Coppola initiated his photographic experimentations, exploring his surroundings and contributing to the discourse on modernist practices across media in local cultural magazines. In 1929 he founded the Buenos Aires Film Club to introduce the most advanced foreign films to Argentine audiences. His early works show a burgeoning interest in new modes of photographic expression that led him to the Bauhaus in 1932, where he met Stern and they began their joint history.

Following the close of the Bauhaus and the rising threat of the Nazi powers in 1933, Stern and Coppola fled Germany. Stern arrived first in London, where her friends included activists affiliated with leftist circles and where she made her now iconic portraits of German exiles. After traveling through Europe, camera in hand, Coppola joined Stern in London, where he pursued a modernist idiom in his photographs of the fabric of the city, tinged alternately with social concern and surrealist strangeness.

In the summer of 1935, Stern and Coppola embarked for Buenos Aires where they mounted an exhibition in the offices of the avant-garde magazine Sur, announcing the arrival of modern photography in Argentina. The unique character of Buenos Aires was captured in Coppola’s photographic encounters from the city’s center to its outskirts and in Stern’s numerous portraits of the city’s intelligentsia. The exhibition ends in the early 1950s, with Stern’s forward-thinking Sueños (Dreams), a series of photomontages she contributed to the popular women’s magazine Idilio, portraying women’s dreams with urgency and surreal wit.

The exhibition is accompanied by a major publication edited by Roxana Marcoci and Sarah Meister with a selection of original texts by Stern and Coppola translated into English by Rachel Kaplan. The catalogue will consist of three essays on the artists written by the exhibition curators and scholar Jodi Roberts.

Organized by Roxana Marcoci, Senior Curator, and Sarah Meister, Curator, with Drew Sawyer, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography.

Major support for the exhibition is provided by The International Council of The Museum of Modern Art, The Modern Women’s Fund, and The David Berg Foundation.
Additional funding is provided by the Consulate General of the Argentine Republic in New York and by the MoMA Annual Exhibition Fund.
John Baldessari (American, born 1931). Hands Framing New York Harbor from Pier 18. 1971. Photograph by Shunk-Kender (Harry Shunk [German, 1924-2006] and János Kender [Hungarian, 1937-1983]). Gelatin silver print, 7 3/8 × 9 15/16" (18.8 × 25.2 cm). The Museum of Modern Art, New York. Gift of the Roy Lichtenstein Foundation in honor of Jennifer Winkworth and Kynaston McShine and in memory of Harry Shunk and János Kender. © 2014 John Baldessari. Photograph: Shunk-Kender © J. Paul Getty Trust. The Getty Research Institute, Los Angeles

Art on Camera: Photographs by Shunk-Kender, 1960–1971

May 17, 2015–October 04, 2015

The Robert and Joyce Menschel Photography Gallery, third floor

In 2013, The Museum of Modern Art acquired over 600 works from the Shunk-Kender Photography Collection as a gift of the Roy Lichtenstein Foundation. The donation established a consortium across five institutions—the Getty Research Institute, the National Gallery of Art, Centre Pompidou, Tate, and MoMA—that together received the full archive of photographic material by Harry Shunk (German, 1924–2006) and János Kender (Hungarian, 1937–2009), who worked collaboratively under the name Shunk-Kender from the late 1950s to the early 1970s.

This exhibition presents a selection of remarkable photographs by Shunk-Kender from the Museum’s collection, including five photographs of Yves Klein’s landmark work Leap into the Void (1960)—the iconic image that was published in Klein’s Dimanche-Le Journal d’un seul jour on November 27, 1960 (and distributed throughout Paris), along with four additional, and little-known, distinct views of the performance. Also featured are numerous photographs of Yayoi Kusama’s astonishing New York performances of 1968, including Mirror Performance—an ecstatic gathering of costumed, painted, and nude bodies within one of Kusama’s mirrored chambers—and multiple iterations of The Anatomic Explosion, in which dancers stripped and posed in front of the New York Stock Exchange and other Wall Street–area locations in an unconventional artistic protest against the Vietnam War.

A major portion of the exhibition is devoted to photographs from Pier 18. In 1971, a series of ephemeral artworks were executed at a derelict Hudson River pier in New York. Conceived and organized by Willoughby Sharp, the actions, instructions, and performances of Pier 18 were enacted in February and March of 1971 by 27 (all male) artists, including Vito Acconci, John Baldessari, Jan Dibbets, Gordon Matta-Clark, Mario Merz, and Allen Ruppersberg, among others. Sharp invited Shunk-Kender to collaborate with each artist to photograph the individual projects. From the start, Sharp conceived of the project as an installation, in which Shunk-Kender’s photographs would be the physical manifestation of the work experienced by an audience. Indeed, it was through Projects: Pier 18 (June 18–August 2, 1971)—an exhibition at MoMA that was part of the Museum’s experimental Projects series—that the public ultimately discovered and engaged with the Pier 18 artworks.

Without question, the roles played by the two photographers varied from one project to the next. On the pier, Baldessari used his hands to mimic the view of their camera, emphasizing the framing choices inherent in the composition. Merz, on the other hand, suggested to the photographers that they select and record images entirely of their own preference. The resulting Pier 18 pictures capture the chaotic energy, systematic processes, and playful wit of the era’s performance and Conceptual art in two-dimensional black and white.

Organized by Lucy Gallun, Assistant Curator, Department of Photography

The exhibition is supported by the MoMA Annual Exhibition Fund.

MoMA Presents: Tudor Cristian Jurgiu’s The Japanese Dog

May 21, 2015–May 27, 2015

The Roy and Niuta Titus Theaters

A standout of New Directors/New Films 2014, Tudor Cristian Jurgiu’s feature debut returns to MoMA for a weeklong run. A striking departure from the gallows humor of the Romanian New Wave, Jurgiu’s Chekhovian The Japanese Dog instead pays loving homage to the tender and gently comical family dramas of Yasujiro Ozu, Late Spring and There Was a Father in particular. Victor Rebengiuc, a legendary veteran of stage and screen, imbues the elderly Costache Moldu with a stoic yet fragile dignity, as he reunites with his estranged son after losing his wife and home in a devastating flood. Exquisitely attuned to the rhythms of nature and rural life—and the melancholy beauty of transient things—The Japanese Dog comes by its emotions honestly and poignantly.

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

The Japanese Dog. 2013. Romania. Directed by Tudor Cristian Jurgiu. Courtesy m-appeal. In Romanian, Japanese; English subtitles. 86 min.

Thursday, May 21, 7:00 p.m.

Friday, May 22, 4:00 p.m.

Saturday, May 23, 4:00 p.m.

Sunday, May 24, 5:00 p.m.

Monday, May 25, 7:00 p.m.

Tuesday, May 26, 4:00 p.m.

Wednesday, May 27, 7:00 p.m.

Guidelines. 2014. Canada. Directed by Jean-Francois Caissy

MoMA Presents: Jean-Francois Caissy’s Guidelines

May 26, 2015–May 28, 2015

The Roy and Niuta Titus Theaters

Guidelines is the second in Jean-Francois Caissy’s series of five documentary features exploring distinct stages of life, from old age, to the teenage years, to young adulthood, and to early childhood. (La Belle visite [Journey’s End, 2009], which focused on old age, was the first in the series.) Guidelines uses long, observational takes to record teens attending a rural Quebec secondary school. Daily activities on school grounds—studying, practicing cheerleading moves, riding bikes in gym—are contrasted with their “external” activities at play in the vast Canadian landscape—burning rubber on back roads, climbing and diving off of bridges over streams in summer, snowmobiling through the snowy woods in the winter. The film respectfully records both authority figures and the teens while school counsellors respond to students’ various misdemeanours, from disturbing other class members or hitting a sibling to bullying and more. The teens’ social discomfort dissolves beyond the walls of the institutional atmosphere, and their nervous energy is absorbed by the great outdoors.

Organized by Sally Berger, Assistant Curator, Department of Film.

La Marche à suivre (Guidelines). 2014. Canada. Directed by Jean-Francois Caissy. Courtesy of the National Film Board of Canada. In French; English subtitles. 75 min.
Tuesday, May 26, 8:00 p.m.
Wednesday, May 27, 8:00 p.m.
Thursday, May 28, 4:00 p.m.
Friday, May 29, 7:30 p.m.
Saturday, May 30, 4:00 p.m.
Sunday, May 31, 2:30 p.m.Monday, June 1, 4:30 p.m.

Welcome to This House, a Film on Elizabeth Bishop. 2015. USA. Directed by Barbara Hammer

MoMA Presents: Barbara Hammer’s Welcome to This House, a Film on Elizabeth Bishop

May 27, 2015–June 07, 2015

The Roy and Niuta Titus Theaters

With her latest work, Barbara Hammer, who is known for films about lesbian life, history, and sexuality that draw upon avant-garde tradition, examines the little-known aspects of the life of the Pulitzer Prize–winning American poet Elizabeth Bishop (1911–1979). Hammer’s film, shown here in its New York premiere, explores Bishop’s inner life through some of the homes in which she lived and wrote—from childhood to her final days—and through the more private and sensorial poems that were published after her death. Featuring music composed and performed by the experimental singer and musician Joan La Barbara; Bishop’s intimate poems read by Kathleen Chalfont; three actors representing Bishop’s physical presence at different stages of her life; and interviews by historians, poets, and students, Welcome to This House sensitively portrays a complex, private, and challenging writer whose poetry continues to inspire.

Organized by Sally Berger, Assistant Curator, Department of Film.

Welcome to This House, a Film on Elizabeth Bishop. 2015. USA. Directed by Barbara Hammer. 79 min.
Tuesday, May 26, 7:00 p.m. (New York premiere)
Wednesday, May 27, 4:00 p.m.
Thursday, May 28, 7:00 p.m.
Friday, May 29, 4:30 p.m.
Saturday, May 30, 7:00 p.m.
Sunday, May 31, 5:30 p.m.
Monday, June 1, 7:00 p.m.

One-sheet poster for Sullivan's Travels, directed by Preston Sturges, 1941. Poster art direction by Maurice Kallis. Courtesy Sikelia Productions

Scorsese Collects

May 30, 2015–September 30, 2015

Theater 2 Gallery, T2 Theater 1 Gallery, T1

In celebration of director Martin Scorsese’s enduring commitment to the preservation of international film culture, MoMA presents 34 works from the Scorsese Poster Collection. The installation is centered around a rare, billboard-size poster for the 1951 film Tales of Hoffmann, and features other large-format pieces representing the work of directors such as Michael Powell (The Red Shoes, 1948), Max Ophuls (The Earrings of Madame de…, 1953) and Jacques Tourneur (I Walked with a Zombie, 1943), and key designers, such as Italy’s Anselmo Ballester and Britain’s Peter Strausfeld. In addition to European art house and American genre films, Raoul Walsh’s silent classic The Regeneration (1915) and Howard Hawks’s Scarface (1932) (represented by a rare lobby card) are included. The exhibition will be accompanied by the film series Scorsese Screens in August 2015.

Organized by Ron Magliozzi, Associate Curator, and Dave Kehr, Adjunct Curator, Department of Film.

Special thanks to Mr. Scorsese and Sikelia Productions’ Marianne Bower.

The Blood of Jesus. 1941. USA. Directed by Spencer Williams.

A Road Three Hundred Years Long: Cinema and the Great Migration

June 01, 2015–June 12, 2015

The Roy and Niuta Titus Theaters

The Department of Film’s companion series to the exhibition One-Way Ticket: Jacob Lawrence’s Great Migration Series and Other Visions of the Great Movement North features the world premiere of a new MoMA commission: Thom Andersen’s Juke: Passages from the Films of Spencer Williams (2015). In Juke, Andersen reconsiders the work of Williams, the pioneering African American writer-director whose central dramatic theme in such films as The Blood of Jesus (1941) and Go Down, Death! (1944) was the battle between the sacred and the profane, the church and the juke joint.

Accompanying the premiere of Juke is a concise selection of fiction films by independent African American writer-directors, including Eloyce and James Gist, Oscar Micheaux, and Spencer Williams; and nonfiction films of the 1920s-1940s, including newsreels, amateur films, ethnographic studies, home movies, and New Deal social documentaries by William D. Alexander, Zora Neale Hurston, Pare Lorentz, Edgar Ulmer and others. For black audiences during the Great Migration, these moving images stood in stark contrast to their lives in the South, offering the promise of deliverance from impoverishment, injustice, and violence—the promise, though perhaps not the fulfillment—and visions of a new black urban modernity.

The legacy of the Migration is reflected in more contemporary films like Charles Burnett’s To Sleep with Anger (1990), Julie Dash’s Daughters of the Dust (1991), and Kevin Jerome Everson’s Company Line (2009). Guest presenters include Hilton Als, Thom Andersen, Lynne Sachs, and Jacqueline Najuma Stewart.            

Organized by Joshua Siegel, Curator, Department of Film, The Museum of Modern Art; and Thomas Beard, independent curator; with Candace Ming, research assistant. Special thanks to Martin L. Johnson and Dan Streible.

The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Courtesy George Eastman House

Glorious Technicolor: From George Eastman House and Beyond

June 05, 2015–August 04, 2015

The Roy and Niuta Titus Theaters

Technicolor is truly the stuff that dreams are made on. “My first memories of movies are in Technicolor,” Martin Scorsese said. “Duel in the Sun was the first picture I ever saw, and it’s never left me—reds, blues, greens, yellows, deep blacks, lustrous golds. There doesn’t appear to be any blending of color in that picture—everything is primary, and everything is alive. It may be garish, it’s certainly unreal, and it’s far from subtle, but it’s alive. Alive…. To me, that’s Technicolor.”

This 100th-anniversary celebration of Technicolor, initiated by George Eastman House and presented in collaboration with the Berlinale, Deutsche Kinemathek – Museum für Film und Fernsehen, and Austrian Film Museum, presents more than 60 feature films, along with a rich selection of cartoons, short subjects, industrials, and screen tests. MoMA’s exhibition focuses exclusively on American films made between 1922 and 1955 (the year that Hollywood studios stopped using Technicolor three-strip cameras), with a delirious range of musicals, melodramas, swashbuckling and seafaring adventures, sword-and-sandal Biblical epics, Orientalist fantasies, Westerns, literary adaptations, homespun Americana, and even rare instances of film noir and 3-D.

The exhibition honors Technicolor’s most immortal achievements, presenting rare 35mm dye-transfer prints of The Wizard of Oz, Gone with the Wind, and Singin’ in the Rain. It also deepens and complicates our appreciation of Technicolor’s history—and our nostalgic memories of movie-palace dreams—by revisiting some of the more muted and delicate, even diaphanous, uses of Technicolor in films like The Toll of the Sea and The Garden of Allah. Even as period advertisements for Technicolor heralded the process as uniquely “natural,” and “truer to life”—a reflection of the painstaking efforts of the company’s technicians and color supervisors to achieve greater verisimilitude—filmmakers like Vincente Minnelli and Rouben Mamoulian were working closely with their cinematographers, production designers, costumers, and makeup artists to explore the expressive, fanciful, and even psychological uses of color by experimenting with light and shadow, chiaroscuro and sfumato, in emulation of Old Masters like El Greco, Titian and Zurburán, or with the brash, electric colors and bold contours of Fauvists like Raoul Dufy.

In tracing the development of Technicolor as both a technology and an art form, we have aspired to remain faithful to the look of these films at the time they were made. Consequently, everything is shown on celluloid—mirable dictu!—and many of the original dye-transfer prints and modern reprints are drawn from the extensive collection of George Eastman House, the unique repository of the Technicolor Corporate Archive. On March 6, James Layton and David Pierce, authors of the definitive new publication The Dawn of Technicolor, 1915–1935 (George Eastman House, 2015), present two lectures illustrated with rare and delightful film clips. The first lecture examines the early history of Technicolor Motion Picture Corporation from its founding in 1915 through the 1920s, the period in which the company faced immense scientific, industrial, and marketing challenges, yet achieved landmark technological breakthroughs that made it the first commercially viable color process. The second lecture illustrates Technicolor’s turning point during the coming of sound, and the sudden demand for musicals using its early two-color process. As the summer months at MoMA will vividly show, few experiences in the history of cinema are as transporting as Technicolor.

Organized by Joshua Siegel, Curator, Department of Film.

Yvonne Rainer. Assisted Living: Do you have any money? 2013. Performers, from left: Patricia Hoffbauer, Emmanuèlle Phuon, Yvonne Rainer, Pat Catterson, Keith Sabado, and Emily Coates. Photo by Ian Douglas

Yvonne Rainer: The Concept of Dust, or How do you look when there’s nothing left to move? (Moving On)

June 09, 2015–June 14, 2015


June 9–108:00 p.m. & June 13–148:00 p.m.

The Museum of Modern Art presents the East Coast premiere of Yvonne Rainer’s The Concept of Dust, or How do you look when there’s nothing left to move? (Moving On). This ongoing work-in-progress interweaves formal dance with personal themes of aging and mortality, humor, and diverse texts—intermittently read by Rainer and the dancers—dealing with ancient Mideast dynasties, paleontological findings, and literary quotations. Language—here running parallel to the music (Gavin Bryars’s “The Sinking of the Titanic”) and dance movements, at times interrupting the latter—continues to be an important coordinate in Rainer’s work. All three elements—language, music, and movement—combine to create a somewhat melancholy ambiance. The performers in The Concept of Dust have been given the freedom to initiate and/or abort the movement phrases as they wish, making spontaneous decisions throughout the 45-minute duration of the piece. Originally commissioned by the J. Paul Getty Museum, Getty Research Institute, and Performa, the MoMA performance will incorporate a yet-to-be-revealed work from the Museum’s collection that has fascinated Rainer since her arrival in New York in 1956.

A founding member of New York’s pioneering Judson Dance Theater, Rainer is widely regarded as a foundational figure of American art and avant-garde dance since the 1960s. Her boundary-breaking choreography, such as Trio A from The Mind Is a Muscle (1966–68), has been performed in numerous forms and settings by both dancers and non-dancers. By the late 1960s, Rainer developed a form known as “performance demonstrations” or “composites,” which combine fragments of choreography with spoken monologues, projections, films, and sounds. In the 1970s, she turned her attention fully to filmmaking, directing Lives of Performers (1972), Journeys from Berlin/1971 (1980), and Privilege(1990). In 2000, Rainer returned to dance and choreography.

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

The performance is made possible by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.

Yvonne Rainer: The Concept of Dust, or How do you look when there’s nothing left to move? is co-commissioned by Performa, New York, and The Getty, Los Angeles. Organized by The Museum of Modern Art.