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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Francis Picabia (French, 1879-1953)
Tableau Rastadada, 1920 
Cut-and-pasted printed paper on paper with ink
7 1/2 x 6 3/4" (19 x 17.1 cm) 
The Museum of Modern Art, New York. Gift of Abby Aldrich Rockefeller (by exchange), 2014
© 2015 Artists Rights Society (ARS), New York / ADAGP, Paris

Dadaglobe Reconstructed

June 12, 2016–September 18, 2016

Paul J. Sachs Prints and Illustrated Books Galleries, second floor

Press Preview: Tuesday, June 7, 2016

Dadaglobe Reconstructed reunites over 100 works created for Dadaglobe, Tristan Tzara’s planned but unrealized magnum opus, originally slated for publication in 1921. An ambitious anthology that aimed to document Dada’s international activities, Dadaglobe was not merely a vehicle for existing works, but functioned as one of the movement’s most generative catalysts for the production of new ones. Tzara invited some 50 artists from ten countries to submit artworks in four categories: photographic self-portraits, photographs of artworks, original drawings, and layouts for book pages. The exhibition brings together these photographs, drawings, photomontages, and collages, along with a selection of related archival material, to reconstruct this volume. Though never published, due to financial and organizational difficulties, Tzara’s project engaged with concerns about art’s reproducibility that continue to be relevant today. 

The exhibition is organized by Kunsthaus Zürich in collaboration with The Museum of Modern Art, New York, with the special participation of the Bibliothèque littéraire Jacques Doucet.

Organized at MoMA by Adrian Sudhalter, Guest Curator, and Samantha Friedman, Assistant Curator, Department of Drawings and Prints.

The presentation at MoMA is supported by the Swiss Arts Council Pro Helvetia.

The Rooftop. 2013. Taiwan/China/Hong Kong. Directed by Jay Chou. Courtesy Well Go USA Entertainment

Luminosity: The Art of Cinematographer Mark Lee Ping-Bing

June 17, 2016–June 30, 2016

The Roy and Niuta Titus Theaters

In a career that spans over three decades, Mark Lee Ping-Bing (Taiwanese, b. 1954) has distinguished himself as one of the world’s foremost cinematographers and moving image creators. His exquisite presentation of light, shadow, and color; graceful camera movement; and arresting compositions bring cinematography’s central role in the creation of motion pictures to the forefront. Lee is a master of filming in natural- and low-light conditions, revealing dense, lustrous layers of light and darkness that provide incredible depth and space. Each frame allows viewers to immerse themselves in rich visual landscapes, whether naturalistic or highly stylized. Lee’s seductive, observant long takes do more than punctuate the passage of time; they mark subtle emotional transformations and inject distinctive rhythmic shifts. He has shot primarily on film throughout his career, and he remains among a small number of cinematographers who continue to use this medium today.

An essential partner to the directors he works with, Lee is best known for his longtime collaboration with director Hou Hsiao-Hsien. In the 10 award-winning features they’ve made together, the duo has defined a vision for Taiwan New Cinema realism—and beyond. Lee has also collaborated with such celebrated filmmakers as Wong Kar Wai, Tran Anh Hung, Tian Zhuangzhuang, and Ann Hui, and his work has won him numerous international honors, most recently a Silver Bear for Outstanding Artistic Contribution at the 2016 Berlinale, for Crosscurrent. For this first American retrospective of Lee’s work, MoMA presents a diverse group of films from Taiwan, Hong Kong, China, Vietnam, Japan, and France.

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

The exhibition is made possible by the Ministry of Culture, Taiwan (R.O.C.) and Taipei Cultural Center of TECO in New York.

Special thanks to Chang Chu-Ti, Susan Yu, and Caren Wu.

Tony Oursler. Still from Imponderable. 2015–16. 5-D multimedia installation (color, sound). 78 min. Courtesy the artist. © 2016 Tony Oursler.

Tony Oursler: Imponderable

June 18, 2016–January 08, 2017

Yoshiko and Akio Morita Gallery and Contemporary Galleries, second floor

Beginning in June 2016, The Museum of Modern Art is reinstalling its second-floor contemporary galleries with three large-scale, single-work installations by contemporary artists Teiji Furuhashi, Nan Goldin, and Tony Oursler. Presented in distinct galleries, the featured works on view are Furuhashi’s Lovers (1994), Goldin’s The Ballad of Sexual Dependency (1979-2004), and Oursler’s Imponderable (2015–16). Immersive in their construction and generous in size, the three large-scale galleries provide MoMA’s visitors with a unique opportunity to have deep encounters with these monumental works.

Tony Oursler’s Imponderable offers an alternative depiction of modernism that reveals the intersection of technological advancements and occult phenomena over the last two centuries. Presented in a “5-D” cinematic environment utilizing a contemporary form of Pepper’s ghost—a 19th-century phantasmagoric device—and a range of sensory effects, Imponderable is an immersive feature-length film inspired by Oursler’s own archive of ephemera relating to stage magic, spirit photography, pseudoscience, telekinesis, and other manifestations of the paranormal. Drawing on these objects, Imponderable weaves together a social, spiritual, and empirical history of the virtual image that overlaps with the artist’s own family history. The cast of characters, including Sir Arthur Conan Doyle, Harry Houdini, Mina “Margery” Crandon, and members of Oursler’s family, is portrayed by an eclectic ensemble of artists, musicians, and performers, including Kim Gordon, Jim Fletcher, Keith Sanborn, and Constance DeJong. Bringing together Oursler’s ongoing interest in mysticism, psychedelia, popular culture, and media history, the work uses macabre humor and theatrical surrealism to reflect on the irrational relationship between belief systems and the authenticity of images. Imponderable is presented in conjunction with selections from Oursler’s archive relating to the film. The exhibition is organized by Stuart Comer, Chief Curator, and Erica Papernik-Shimizu, Assistant Curator, Department of Media and Performance Art, MoMA. 

This exhibition coincides with Tony Oursler: The Imponderable Archive, on view at the Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York, June 25–October 30, 2016.

Imponderable was originally commissioned and produced by the LUMA Foundation for the Parc des Ateliers, Arles, France, and LUMA Westbau, Zurich, Switzerland, 2015.

Allianz is a partner of contemporary art at MoMA.

Still the Water. 2014. Japan. Directed by Naomi Kawase

Naomi Kawase

June 25, 2016–July 14, 2016


Naomi Kawase is among the most renowned contemporary Japanese filmmakers. She began making films in 1988, when she was 19 years old, and has been garnering awards for the intimate and timeless tenor of her work ever since. Her earliest films, shot in an experimental style on Super 8mm and 16mm film, had an autobiographical bent, focusing on her family life and abandonment by her birth father (Embracing, 1992), or the loving but charged interactions with the foster mother who raised her (Katatsumori, 1994). While she continued to explore nonfiction, Kawase began developing fiction films, and in 1997 she released her debut dramatic feature, Suzaku. Focusing on the trials of a family living in a rural area of Japan in economic decline, the film won the Cannes Film Festival’s Camera d’Or—making Kawase the award’s youngest recipient to date. Ten years later The Mourning Forest, her feature about the intertwined fates of a young woman and an older man, won the Cannes Grand Prix. Kawase’s films are often based in her native Nara Prefecture, the woodsy, rural area of one of the ancient capitals of Japan. Nature, the elements, and the seasons are important signposts in all of her films, signifying both permanence and the cycles of life. Japanese culture, traditional ritual, and music are also significant elements in her films, and she often works with a combination of professional and non-professional actors.

Kawase studied television and film at Visual Arts Osaka, graduating in 1989. She founded Kumie Inc. Production Company in 1996, and the Nara International Film Festival in 2010. Kawase received the Chevalier des Arts et des Letters of France in 2015.

This series was organized on the occasion of the 2016 Flaherty Seminar, Play.

Screening schedule forthcoming.

Organized by Sally Berger, Assistant Curator, Department of Film, The Museum of Modern Art, in collaboration with David Pendleton, Programmer, Harvard Film Archive, and Anita Reher, Executive Director, The Flaherty Seminars.

Crossroads, 1976/2013. USA. Directed by Bruce Conner. Courtesy the Conner Family Trust © Conner Family Trust


July 03, 2016–October 02, 2016

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

BRUCE CONNER: IT’S ALL TRUE is the artist’s first monographic museum exhibition in New York, the first large survey of his work in 16 years, and the first complete retrospective of his 50-year career. It brings together over 250 objects, from film and video to painting, assemblage, drawing, prints, photography, photograms, and performance.

Bruce Conner (1933–2008) was one of the foremost American artists of the postwar era. Emerging from the California art scene, in which he worked for half a century, Conner’s work touches on various themes of postwar American society, from a rising consumer culture to the dread of nuclear apocalypse. Working simultaneously in a range of mediums, Conner created hybrids of painting and sculpture, film and performance, drawing and printing, including bodies of works on paper utilizing drawing and collage and two important photographic bodies of work, including a haunting group of black-and-white life-sized photograms called ANGELS. An early practitioner of found-object assemblage, his relief and free-standing sculptural objects, such as CHILD (1959) and LOOKING GLASS (1964), were widely recognized for their masterful compositions and daringly dark subject matter.

Equally a pioneer of avant-garde filmmaking, Conner developed a quick-cut method of editing that defined his oeuvre. Incorporating footage from a variety of sources—countdown leaders, training films, and newsreels—and adding later his own 16mm film footage, Conner’s films also focus on disturbing but utterly current themes. For their structural innovation and daring subject matter, films like A MOVIE (1958) and CROSSROADS (1976) have become landmarks of American experimental cinema.

The exhibition is organized by SFMOMA.

Co-curated by Stuart Comer, Chief Curator, Department of Media and Performance Art, MoMA; Laura Hoptman, Curator, Department of Painting and Sculpture, MoMA; Rudolf Frieling, Curator of Media Arts, San Francisco Museum of Modern Art; Gary Garrels, The Elise S. Haas Senior Curator of Painting and Sculpture, San Francisco Museum of Modern Art; with Rachel Federman, Assistant Curator, Painting and Sculpture, San Francisco Museum of Modern Art.

The organization of BRUCE CONNER: IT’S ALL TRUE at SFMOMA has been underwritten in part by the Henry Luce Foundation. 

The exhibition at MoMA is made possible by Hyundai Card.

Kai Althoff. Untitled, 2011. Oil, synthetic polymer, tempera, and varnish on fabric and silk. 53 1/4 x 59 3/4 x 2 3/8 inches (135.3 x 151.8 x 6 cm). © Kai Althoff

Kai Althoff: and then leave me to the common swifts

September 18, 2016–January 22, 2017

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

Kai Althoff (b. 1966, Germany) is one of the most consummate—and unpredictable—artists of his generation. His works often mix crafts like weaving, and ceramic work with fine-art languages like painting, drawing, and sculpture. Their painstakingly handmade quality gives them an intimacy and a finely wrought beauty more common to religious objects than contemporary art. Each object Althoff makes is imbued with great personal significance that is reflected in his fervent attention to aesthetic detail; however, he is less interested in producing private talismans, than in making artworks that resonate with whoever may encounter them.

This desire to connect to people, places, and beliefs is made manifest in Althoff’s fascination with how passion and faith can create a sense of belonging. Themes of communal devotional activity are woven throughout his oeuvre, which includes admiring depictions of families, fraternities, soldiers, and religious adherents among other groups. For Althoff, artmaking is an expression of love, but it is also a means to being loved. It is this search for acceptance and longing for welcome that has produced a 25-year body of work that is polymathic, consummate in skill, deeply personal, and utterly unique.

This exhibition, the artist’s first major monographic exhibition at a U.S. institution in a decade, will feature more than 200 works from all periods in Althoff’s career, in a range of mediums including painting, drawing, collage, sculptural objects, video, and sound. Drawing from public and private collections worldwide, the selection of works will be displayed in an immersive environment designed by the artist that will serve as a framing narrative for the bodies of work in the show.

Organized by Laura Hoptman, Curator, with Margaret Ewing, Curatorial Assistant, Department of Painting and Sculpture.

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 20, 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.

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 will be re-choreographed and recreated for the unique space of the specific museums that it will be on view.

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

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

Peter Moore. Performance view of Robert Rauschenberg’s Pelican, 1963. Photo © Barbara Moore/Licensed by VAGA, New York, NY. Courtesy Paula Cooper Gallery, New York

Robert Rauschenberg

May 21, 2017–September 04, 2017


Robert Rauschenberg is the first posthumous retrospective of this defining figure of 20th-century art. At the time when Rauschenberg (1925–2008) launched his career, the heroic gestural painting of Abstract Expressionism was seen as the dominant mode of American avant-garde art. Rauschenberg challenged this tradition, inventing radically new models of artistic practice that shaped the decades to come. He created works that merged traditional art materials with ordinary objects, found imagery, and technological components; developed new modes of performance art and performative work; and organized collaborative projects that crossed boundaries of media. This retrospective will contextualize Rauschenberg’s foundational Combines (1954–64) and his widely celebrated silkscreen paintings (1962–64) in new ways, while also giving focus to less canonical periods within the artist’s career, namely his work of the early 1950s and from the late 1960s onward, now compelling and prescient to contemporary eyes. At MoMA, Robert Rauschenberg has been conceived as an “open monograph,” so that as other artists, dancers, musicians, and writers came into Rauschenberg’s creative life, their work will enter the exhibition. Groups of work will be gathered around important sites at which people came together and objects were shown in association, starting with Black Mountain College, then moving to Rauschenberg’s Fulton and Pearl Street Studios in New York City, and eventually to Captiva Island, Florida, where he concluded his prolific career. In addition to MoMA, Robert Rauschenberg will be on view at the Tate Modern (November 30, 2016–April 2, 2017) and The San Francisco Museum of Modern Art (November 4, 2017–March 25, 2018).

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 Jenny Harris and Emily Liebert, Curatorial Assistants, Department of Painting and Sculpture, The Museum of Modern Art.

Donald Judd (American, 1928–1994). Untitled. 1991. Painted aluminum, 59" x 24' 7 1/4" x 65" (150 x 750 x 165 cm) Bequest of Richard S. Zeisler and gift of Abby Aldrich Rockefeller (both by exchange) and gift of Kathy Fuld, Agnes Gund, Patricia Cisneros, Doris Fisher, Mimi Haas, Marie-Josée and Henry R. Kravis, and Emily Spiegel. © Judd Foundation, licensed by VAGA, New York

MoMA Announces Donald Judd Retrospective for 2017

October 01, 2017–January 28, 2018


In the fall of 2017, The Museum of Modern Art will present the most comprehensive exhibition of the work of Donald Judd (American, 1928–1994) to date. Comprising more than 100 works of art gathered from public and private collections around the world, this retrospective aims to provide a multifaceted perspective on Judd. Organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, in collaboration with Judd Foundation, the exhibition will be installed in the Museum’s second-floor Contemporary Galleries. Building on intensive curatorial research, the exhibition will advance scholarship on Judd’s art and introduce his work to new generations of viewers. MoMA will be the sole venue for the exhibition.

The exhibition is made possible by Hyundai Card.

Major support is provided by the Henry Luce Foundation.

Additional funding is provided by the MoMA Annual Exhibition Fund.