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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Interior of a Better Shelter prototype in Kawergosk Refugee Camp, Erbil, Iraq. Better Shelter. 2015.

Insecurities: Tracing Displacement and Shelter

October 01, 2016–January 22, 2017

Dunn Gallery, second floor

The ways in which architecture and design have addressed contemporary notions of shelter, as seen through migration and global refugee emergencies, will be explored in the exhibition Insecurities: Tracing Displacement and Shelter. Bringing together works by architects, designers, and artists in a range of mediums and scales that respond to the complex circumstances brought about by forced displacement, the exhibition focuses on conditions that disrupt conventional images of the built environment as an arbiter of modernity and globalization. The prevalence of shelters and refugee camps calls into question the “safety” that they represent. Insecurities is organized by Sean Anderson, Associate Curator, with Arièle Dionne-Krosnick, Curatorial Assistant, Department of Architecture and Design, The Museum of Modern Art.

Recent United Nations figures suggest that 65 million individuals worldwide are refugees, asylum seekers, and internally displaced persons. Where borders once marked the peripheries of nations, today, manifold territories on sea and land have blurred one’s potential confinement within spaces that are determined by external powers. Under these conditions, shelter has been redefined through constant movement or escape. By extension, refugee camps, while once considered to be temporary, are no longer so, and have become a locus through which to examine how human rights intersect with and complicate the making of cities.

Insecurities brings together a range of objects, including the jointly-designed IKEA Foundation-UNHCR-Better Shelter modular emergency structure, along with works by Estudio Teddy Cruz, Henk Wildschut, and Tiffany Chung, among others. Insecurities raises questions regarding how the design and representation of shelter as a source of security and stability ultimately reflects how refugees are living in permanent upheaval today.

Major support for the exhibition is provided by The International Council of The Museum of Modern Art.
 
Additional support is provided by the MoMA Annual Exhibition Fund.
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Willi Baumeister. wie wohnen? Die Wohnung (How Should We Live? The Dwelling), Poster for an exhibition organized by the Deutsche Werkbund at the Weissenhofsiedlung, Stuttgart, Germany. 1927. Lithograph, 44 3/4 x 32 3/8" (113.7 x 82.2 cm). The Museum of Modern Art, New York. Gift of Philip Johnson

How Should We Live? Propositions for the Modern Interior

October 01, 2016–April 23, 2017

Third Floor Galleries

With How Should We Live? Propositions for the Modern Interior, The Museum of Modern Art examines a range of environments—domestic interiors, exhibition displays, and retail spaces—with the aim of exploring the complex collaborative partnerships, materials, and processes that have shaped the modernist interior. The exhibition focuses on specific interior spaces from the 1920s to the 1950s. Rather than concentrating on isolated masterworks, attention is given to the synthesis of design elements within each setting, and to the connection of external factors and attitudes—aesthetic, social, technological, and political—that these propositions express in material and spatial form.

Bringing together a number of recent acquisitions by the Department of Architecture and Design of work by major women architect-designers, How Should We Live? looks at several designers’ own living spaces and at frequently neglected areas in the field of design, including textile furnishings, wallpapers, kitchens, temporary exhibitions, and promotional displays. Noted partnerships featured in the exhibition will include Lilly Reich and Mies van der Rohe, Grete Lihotzky and Ernst May, Eileen Gray and Jean Badovici, Aino and Alvar Aalto, Charles and Ray Eames, Florence Knoll and Herbert Matter, and Charlotte Perriand and Le Corbusier.

Divided into three chronological groupings—the late 1920s to the early 1930s, the late 1930s to the mid-1940s, and the late 1940s into the 1950s—the exhibition brings together over 200 objects in total, but highlights a number of large-scale interiors by the aforementioned designers, including Lihotzky’s Frankfurt Kitchen (1926–27), Reich and Mies’s Velvet and Silk Café (1927), and Perriand and Le Corbusier’s kitchen from the Unité d’Habitation (1954) and study bedroom from the Maison du Brésil (1959).

Organized by Juliet Kinchin, Curator, with Luke Baker, Curatorial Assistant, Department of Architecture and Design, MoMA

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Vesna na Zarechnoi ulitse (Springtime on Zarechnaia Street). 1956. USSR.  Directed by Marlen Khutsiev.

Marlen Khutsiev

October 06, 2016–October 16, 2016

The Roy and Niuta Titus Theaters

The Georgian-born, Russian-based Marlen Khutsiev (b. 1925, Tiblisi), who introduced a New Wave sensibility to Soviet cinema during the so-called Khrushchev Thaw of the late 1950s and early 1960s, is still energetically making films at 90 and will be attending the October 5 opening of his MoMA retrospective. Khutsiev’s dazzling widescreen black-and-white portraits of Russia’s postwar generation of students, poets, lovers, and revolutionaries had a sense of vitality and freshness that earned him top prizes at international film festivals like Venice and Berlin and the admiration of Fellini and others. By the mid-1960s, however, they had also brought harsh condemnation from Soviet censors, and for much of his half-century career Khutsiev was considered a political and cultural subversive (to some degree, unjustly or not, this is true even today). Khutsiev’s major films, including I Am Twenty (1964) and July Rain (1965), were heavily cut and either shown in bowdlerized versions or banned for years, even until after Perestroika. MoMA’s complete survey of 10 feature films—many of them recently and more faithfully subtitled—restores Marlen Khutsiev to his proper place in the pantheon of postwar cinema. The retrospective features It Was the Month of May (1970), his deeply personal reflection on war crimes; the Tarkovsky-like metaphysical excursion Infinitas (1991); and And Still I Believe, a documentary testament to 20th-century upheaval that Elem Klimov and Khutsiev completed after their mentor Mikhail Romm’s death.

Organized by Joshua Siegel, Curator, Department of Film, MoMA; and Peter Bagrov, Curator, Gosfilmofund.

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Romeo + Juliet. 1996. USA. Directed by Baz Luhrman. Courtesy 20th Century Fox/Photofest

Breaking Bard: Shakespeare on Film

October 12, 2016–October 24, 2016

The Roy and Niuta Titus Theaters

William Shakespeare’s bountiful 17th-century literary output has had a monumental influence on the narrative and visual content of cinema, the art form most associated with the 20th century. From the silent cinema to today, moving image artists have interpreted Shakespeare’s work in countless original ways. Some remain faithful to iconic text while others radically re-chart the works with modern dress and language or gender shifts. These diverse and audacious reassessments of Shakespeare’s plays demonstrate the continued relevance of his work to the modern world.

While classical actor/directors such as Laurence Olivier grip us with a traditional Hamlet (1948), filled with shadows and stripped of empathy, along comes Tom Stoppard, who elevates two minor characters from the same tragedy in his farce Rosencrantz and Guildenstern Are Dead (1990). Whether Olivier remains faithful to Shakespeare or prose swirls out of the audacious imagination of Stoppard, Hamlet is the venerated source material. When a contemporary director known for innovation, like Julie Taymor, keeps close to the text of Titus Andronicus, this means she also dives deep into the fundamental absurdity and morbidity of the early Shakespeare tragedy. Critic Roger Ebert wryly noted Taymor’s mischievous casting of Anthony Hopkins as the meat-pie-eating King Titus, who knows that the secret ingredient in the delectable pasty he feeds Queen Tamora is her sons.

In March 2016, 400 years after the Bard’s death, Sir Ian McKellen and the British Film Institute and the British Council commenced a yearlong celebration of Shakespeare’s influence on culture, education, and society with a rich program of international events called Shakespeare Lives. Here at MoMA, Breaking Bard: Shakespeare on Film includes films both faithful to and paradoxical with Shakespeare’s texts—a unique range of cinematic adherence and divergence across a wide array of filmmakers.

Organized by Anne Morra, Associate Curator, Department of Film, in conjunction with the British Film Institute and British Council.

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MoMA_UCHIDA_Twilight Saloon 1955

Tomu Uchida

October 21, 2016–November 07, 2016

The Roy and Niuta Titus Theaters

Tomu Uchida was one of the most stylish and versatile commercial filmmakers in the Japanese studio system during the prewar and early postwar years. His storytelling skills spanned genres ranging from samurai films and policiers to social satire; with The Outsiders, he even realized a kind of Western set in Japan’s northernmost island of Hokkaido. His flair for action was complemented by a subtle interest in human psychology, and his films combine narrative economy with an often stunning visual beauty.

Organized by La Frances Hui, Associate Curator, Department of Film, The Museum of Modern Art, in collaboration with independent curators Alexander Jacoby and Johan Nordström, and the National Film Center, The National Museum of Modern Art, Tokyo. 

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Mark Leckey

October 23, 2016–March 05, 2017

MoMA PS1

MoMA PS1 presents the first comprehensive survey of the pioneering British artist Mark Leckey in the United States, and the largest exhibition of his work to date. Since coming to prominence in the late 1990s, his dynamic and varied practice has helped give form to the transition from analog to digital culture, and powerfully influenced younger generations of artists. Occupying two floors of MoMA PS1, the exhibition will bring together major bodies of Leckey’s art, including a broad array of video works and sculptural installations alongside new pieces made specifically for the exhibition. Among the highlights will be Leckey’s breakthrough film Fiorucci Made Me Hardcore (1999), which uses sampled footage to trace dancesubcultures in British nightclubs from the 1970s to 1990s; a selection of the artist’s Sound System sculptures (2001-2012), functioning stacks of audio speakers that recall those used in street music parties in London; his pedagogical lecture performances; GreenScreenRefrigeratorAction (2010), a video and installation that consider “smart” objects and our increasingly technological environment; a significant installation UniAddDumThs(2014), which Leckey created as a “copy” of a touring exhibition, The Universal Addressability of Dumb Things, that he had curated the year before; and an expanded presentation of works relating to his recent autobiographical film Dream English Kid 1964–1999 AD (2015).

Mark Leckey is co-organized by Peter Eleey, Curator and Associate Director of Exhibitions and Programs, MoMA PS1; and Stuart Comer, Chief Curator, Department of Media and Performance Art, The Museum of Modern Art.

Mark Leckey (b. 1964, United Kingdom) was awarded the Turner Prize in 2008 and has been the subject of numerous solo exhibitions at institutions includingHaus der Kunst, Munich, Germany (2015); WIELS Contemporary Art Centre, Brussels, Belgium (2014); the Hammer Museum, Los Angeles (2013); Nottingham Contemporary, Nottingham, UK (2013); Banff Centre, Banff, Canada (2012); and the Serpentine Gallery, London, UK, (2011). He has participated in the Carnegie International (2013), the 55th Venice Biennale (2013), and the 8th Gwangju Biennial (2010). Leckey lives and works in London.

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Bel_MoMA_Gala_High Res

Artist’s Choice: Jérôme Bel/MoMA Dance Company

October 27, 2016–October 31, 2016

Donald B. and Catherine C. Marron Atrium

On the occasion of French Institute Alliance Française (FIAF)’s Crossing the Line Festival 2016, The Museum of Modern Art presents Artist’s Choice: Jérôme Bel/MoMA Dance Company. An exhibition series inaugurated in 1989 at MoMA, Artist’s Choice periodically invites contemporary artists to organize installations drawn from the Museum’s collection. When invited to be the first choreographer to participate in an Artist’s Choice, Jérôme Bel shifted his focus from the artworks in the collection to MoMA’s staff, and to the care and labor necessary to maintain the collection and make it visible. Bel also became interested in the relation of the Museum’s employees to specific artworks, to the institution, and to dance. Eventually, Bel decided to turn his Artist’s Choice exhibition into a performance: MoMA Dance Company.

Through an open call, MoMA Dance Company brings together 20 to 25 MoMA staff members from different departments who will perform during public hours in the Donald B. and Catherine C. Marron Atrium. Taking inspiration from his recent piece Company, Company, which features both amateur and professional dancers of different ages and backgrounds, Bel has invited each participating MoMA staff member to choreograph a brief solo dance of their choice. Based on the guiding principles of solo and group performances, MoMA Dance Company subverts the idea of a dance company and notions of virtuosity—and the typical focus of Artist’s Choice installations on objects—to challenge the imaginations and expectations of audiences and the institution itself. Artist’s Choice: Jérôme Bel/MoMA Dance Company is organized by Ana Janevski, Associate Curator, with Martha Joseph, Curatorial Assistant, Department of Media and Performance Art, and produced by Lizzie Gorfaine, Performance Producer.

Presented on the occasion of FIAF’s Crossing the Line 2016, in conjunction with related programming at The Joyce and The Kitchen.

The Artist’s Choice exhibition series is made possible through The Agnes Gund Artist’s Choice Fund endowed by Iara Lee and George Gund III, Lulie and Gordon Gund, Ann and Graham Gund, and Sarah and Geoffrey Gund.

Additional support is provided by the MoMA Annual Exhibition Fund.

The artist gratefully acknowledges the Cultural Services of the French Embassy in the United States.

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Berenice Abbott. George Washington Bridge, Riverside Drive and West 179th Street, Manhattan. January 17, 1936. Gelatin silver print, 9 9/16 x 7 5/8" (24.3 x 19.3 cm). The Museum of Modern Art, New York. Promised gift of Robert B. Menschel. © 2016 Berenice Abbott/Commerce Graphics

The Shape of Things: Photographs from Robert B. Menschel

October 29, 2016–May 07, 2017

The Paul J. Sachs Galleries, second floor

The Shape of Things: Photographs from Robert B. Menschel presents an engaging survey of The Museum of Modern Art’s multifaceted collection of photography. Borrowing its title from the eponymous work by Carrie Mae Weems, the exhibition is drawn entirely from works acquired over the past 40 years with the support of Robert B. Menschel, telling the story of photography from its beginnings.

Covering more than 150 years of photography—from an 1843 view of Paris by William Henry Fox Talbot, the English father of photography, to Andreas Gursky’s contemporary monumental landscapes, the exhibition underscores an equal attention to the past and the present, and a strong belief that they complement each other; and that each generation reinvents photography. Since Menschel joined the Committee on Photography at MoMA in 1977, over 500 works have entered the collection through his support, including the promised gift of 162 photographs from his personal collection recently acquired.

Organized by Quentin Bajac, the Joel and Anne Ehrenkranz Chief Curator of Photography, with Katerina Stathopoulou, Curatorial Assistant, Department of Photography, MoMA.

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To Save and Project: The 14th MoMA International Festival of Film Preservation

November 02, 2016–November 23, 2016

The Roy and Niuta Titus Theaters

One of MoMA’s most beloved film festivals, To Save and Project features dozens of newly preserved and restored films from around the world. Now celebrating its 14th year, this three-week exhibition of rarities and masterworks constitutes a rich survey of the invaluable work of international archives, studios, and independent filmmakers to save our cinema heritage. Many of these films are receiving their first American screening since their original release, others will be shown in meticulously restored versions, and others still are being shown for the first time ever in New York.

Organized by Joshua Siegel, Curator, and Dave Kehr, Adjunct Curator, Department of Film, MoMA.

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Francis Picabia (French, 1879–1953). L'Œil cacodylate (The Cacodylic Eye). 1921. Oil, enamel paint, gelatin silver prints, postcard, and cut-and-pasted printed papers on canvas, 58 1/2 x 46 1/4" (148.6 x 117.4 cm). Centre Pompidou, Musée national d'art moderne – Centre de création industrielle, Paris. Purchase in honor of Au temps du Bœuf sur le Toit, 1967. © 2016 Artists Rights Society (ARS), New York/ADAGP, Paris. Photo: © CNAC/MNAM/Dist. RMN-Grand Palais/Art Resource, NY

Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction

November 21, 2016–March 19, 2017

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction is the first major exhibition in the U.S. to encompass the full range of Picabia’s audacious, provocative, and profoundly influential career. MoMA’s first-ever monographic exhibition of the artist, Francis Picabia brings together some 200 works in multiple mediums to explore the artist’s critical place in the history of 20th-century art.

Among the great modern artists, Francis Picabia (French, 1879–1953) remains one of the most elusive; he vigorously avoided any one singular style or medium, and his work encompassed painting, performance, poetry, publishing, and film. Though he is best known as one of the leaders of the Dada movement, his career ranged widely—and wildly—from Impressionism to radical abstraction, from Dadaist provocation to pseudo-classicism, and from photo-based realism to art informel. Picabia’s contributions to a diverse range of artistic mediums, along with his consistent inconsistencies, make him especially relevant for contemporary artists, and his career as a whole challenges familiar narratives of modernism.

Francis Picabia—conceived in partnership with the Kunsthaus Zürich, where its presentation is scheduled to coincide with the 100th anniversary of the founding of the Cabaret Voltaire, in 1916—assembles key selections and bodies of work, ranging in date from the first decade of the 20th century through the early 1950s. Picabia’s work as a painter—albeit one whose oeuvre consistently contests the term—will be represented, along with his activities as a publisher and contributor to vanguard journals, and his forays into screenwriting and theater. The core of the exhibition comprises some 125 paintings, along with approximately 45 key works on paper, one film, and a carefully chosen selection of printed matter.

Francis Picabia is organized by The Museum of Modern Art and the Kunsthaus Zürich. The curators are Anne Umland, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture at The Museum of Modern Art; and Cathérine Hug, Curator at the Kunsthaus Zürich; with Talia Kwartler, Curatorial Assistant, MoMA.

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