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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Trajal Harrell. Used, Abused, and Hung Out to Dry. 2013. Photo by Yi-Chun Wu, © 2013 The Museum of Modern Art, New York

Trajal Harrell: The Return of La Argentina and The Practice

October 23, 2015–October 25, 2015

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

Friday, October 23
The Practice
11:00 a.m.–1:00 p.m. and 2:30–5:00 p.m.
Saturday, October 24
The Return of La Argentina
11:00 a.m. and 12:00 p.m.
The Practice
2:30–5:00 p.m.
Sunday, October 25
The Return of La Argentina
12:00, 3:00, and 4:00 p.m.

In one step are a thousand animals is Trajal Harrell’s (American, b. 1973) two-year Annenberg Research Commission Residency project at The Museum of Modern Art. During his residency, Harrell is exploring the work of the Japanese choreographer Tatsumi Hijikata (1928–86) and the aesthetic possibilities of butoh, a form of experimental dance that emerged in postwar Japan. Hijikata situated butoh as a literary and surrealist dance form, drawing on themes of death, abjection, and corporeality. Harrell’s residency began in September 2014 with The Practice, in which he offered insights into his working methods by inviting renowned musicians, composers, DJs, singers, and dancers to participate in an open rehearsal at the Museum over two days. In January 2015, Harrell took part in a conversation with Japanese choreographer and dancer Eiko Otake and the President of the Lower Manhattan Cultural Council Sam Miller.

In this next iteration of the residency, Harrell will perform The Return of La Argentina, inspired by Japanese dancer and choreographer Kazuo Ohno’s (1906–2010) renowned solo piece Admiring La Argentina. Dedicated to the famed Spanish dancer Antonia Mercé (1890–1936), who was known as “La Argentina,” Admiring La Argentina was directed by Hijikata when it premiered in Japan in 1979 and toured to La MaMa Theater in New York in 1981. Harrell does not aim to reconstruct Ohno’s original work. Instead, he refers to his working process as a “fictional archiving,” based on personal encounters with historical source material.

In addition to this new work, Harrell will once again present The Practice, together with his collaborators Thibault Lac and Ondrej Vidlar, to reveal new developments in his working process as it relates to theoretical juxtapositions between butoh and early modernism. The working process will be open to the public over two days in three multi-hour sessions.

As a contribution to scholarship on Harrell’s work, MoMA commissioned two essays—”Mother Would Like a Cash Award: Trajal Harrell at MoMA,” by Tavia Nyong’o, and “From Voodoo to Butoh: Katherine Dunham, Hijikata Tatsumi, and Trajal Harrell’s Transcultural Refashioning of “Blackness'” by Michio Arimitsu—which can be viewed online at

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

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

Shomei Tomatsu (Japanese, 1930-2012). Hibakusha Tomitarō Shimotani, Nagasaki. 1961. Gelatin silver print, 13 × 18 3/4" (33 × 47.6 cm). The Museum of Modern Art, New York. Gift of the artist © 2015 Shomei Tomatsu

Soldier, Spectre, Shaman: The Figure and the Second World War

October 24, 2015–March 20, 2016

The Paul J. Sachs Drawing Galleries, third floor

The years surrounding World War II posed a creative and existential crisis, as artists struggled to respond to human, social, and cultural conditions in the wake of the horrors of combat, images of concentration camps, and the aftermath of the atomic bomb. Drawn entirely from MoMA’s collection, Soldier, Spectre, Shaman presents a range of artistic responses focused on the human figure, with the body serving as subject and object, mirror and metaphor. The exhibition features work in a variety of mediums by more than 30 international artists, including prints by David Smith and Chimei Hamada that confront the visceral realities of the battlefield landscape; Alberto Giacometti’s and Louise Bourgeois’s sculptures of spectral, shadowed, or dissolving bodies; Shomei Tomatsu’s post-atomic bomb photographs; and visions of mystical, divine, or otherworldly forms by Henri Michaux, Henry Darger, and Jeanne Reynal.

Organized by Lucy Gallun, Assistant Curator, Department of Photography, and Sarah Suzuki, Associate Curator, Department of Drawings and Prints.

Joaquín Torres-García (Uruguayan, 1874–1949). Construction in White and Black. 1938. Oil on paper mounted on wood. 31 3/4 x 40 1/8" (80.7 x 102 cm). The Museum of Modern Art, New York. Gift of Patricia Phelps de Cisneros in honor of David Rockefeller. Photograph by Thomas Griesel © Sucesión Joaquín Torres-García, Montevideo 2015

Joaquín Torres-García: The Arcadian Modern

October 25, 2015–February 15, 2016

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

Press Preview: Tuesday, October 20, 9:30–11:30 a.m.
At 11:30 a.m. a Conversation with the Curator will take place in the Roy and Niuta Titus Theater 2 and will be live streamed.

With Joaquín Torres-García: The Arcadian Modern, The Museum of Modern Art presents the first major U.S. retrospective devoted to the artist in 45 years. The exhibition spans the first half of the 20th century, surveying Joaquín Torres-García’s (Uruguay, 1874–1949) remarkable achievements in painting, sculpture, fresco, drawing, and collage through some 190 works.

Joaquín Torres-García: The Arcadian Modern stresses the radical individuality of an artist who eluded classification. A central figure in the history of modernism in the Americas and a key protagonist in the transatlantic cultural exchanges that have informed it, Torres-García has fascinated generations of artists on both sides of the Atlantic, but most notably in the Americas—including major North American artists from Barnett Newman to Louise Bourgeois, and countless Latin American artists. While assimilating and transforming the formal inventions of modern art, Torres-García stayed true to an understanding of time as a collision of different periods rather than a linear progression—a distinction that is particularly relevant to contemporary art.

The exhibition is a chronological display structured in a series of major chapters and embracing the artist’s entire oeuvre, from his early works in Barcelona at the end of the 19th century to his final works, made in Montevideo in 1949. Two key moments are emphasized: the period from 1923 to 1933, when Torres-García participated in various European early-modern avant-garde movements while establishing his own signature pictographic-constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.

Organized by Luis Pérez-Oramas, The Estrellita Brodsky Curator of Latin American Art, with Karen Grimson, Curatorial Assistant, Department of Drawings and Prints, MoMA.

Major support for the exhibition is provided by Patricia Phelps de Cisneros and Gustavo Cisneros, the Gradowczyk Family, Aeropuerto de Carrasco, and Estrellita and Daniel Brodsky.
Generous funding is provided by Presidencia de la República Oriental del Uruguay; Eduardo F. Costantini; Richard Roth; the Institut Ramon Llull; The Arango Collection; the Diane and Bruce Halle Foundation; The Consulate General of Spain in New York; and The Uruguayan Friends of Joaquín Torres-García: The Arcadian Modern including Diana and Rafael Viñoly, Fundación Pablo Atchugarry, Fundación Francisco Matto, Fundación Julio Alpuy, Beatrix and Gregor Medinger, and Martín Cerruti.
Additional support is provided by the MoMA Annual Exhibition Fund.
Support for the publication is provided by The International Council of The Museum of Modern Art.
MoMA Audio+ is supported by Bloomberg Philanthropies.
Insiang. 1976. Philippines. Directed by Lino Brocka.

MoMA Presents: Lino Brocka’s Insiang

October 28, 2015–November 03, 2015

The Roy and Niuta Titus Theaters

Passions run hot in the slums of Manila, where poverty, hunger, and lust lead to acts of desperate brutality. Following on a successful 2013 theatrical run of Lino Brocka’s Manila in the Claws of Light (1975), MoMA presents a weeklong run of Brocka’s Insiang (1976), another restored landmark of Filipino cinema that recently premiered at the 2015 Cannes Film Festival. Shot under extreme pressures of time (roughly 11 days), money, and government censorship, Insiang has lost none of its political urgency or vitality. Brocka, the Philippines’ most internationally celebrated filmmaker working within—and against—the Marcos dictatorship, masterfully fuses documentary realism with classic melodrama to chart the fate of one teenage girl, the beautiful and waifish Insiang (Hilda Koronel), who becomes hardened and vengeful after her boyfriend abandons her to the predatory sexual advances of her mother’s lover. The rivalry between the shrewish matriarch (1930s star Mona Lisa) and her impressionable, cunning daughter is chilling in its violent narcissism. Insiang was restored in 2015 by Cineteca di Bologna/L’Immagine Ritrovata, with funding provided by The Film Foundation’s World Cinema Project and the Film Development Council of the Philippines. This weeklong run is a prelude to the November opening of To Save and Project: The 13th MoMA International Festival of Film Preservation

Insiang. 1976. Philippines. Directed by Lino Brocka. Screenplay by Mario O’Hara, Lamberto Antonio. With Hilda Koronel, Mona Lisa, Ruel Vernal, Rez Cortez. In Tagalog; English subtitles. 95 min.
Wednesday, October 28, 6:30 p.m.
Thursday, October 29, 6:30 p.m.
Friday, October 30, 4:00 p.m.
Saturday, October 31, 4:30 p.m.
Sunday, November 1, 2:00 p.m.
Monday, November 2, 4:00 p.m.
Tuesday, November 3, 6:30 p.m.

Organized by Joshua Siegel, Curator, Department of Film.

McCullin. 2012. Great Britain. Directed by Jacqui Morris, David Morris. Courtesy the filmmakers. 90 min.

MoMA Presents: Jacqui and David Morris’s McCullin

October 30, 2015–November 05, 2015

The Roy and Niuta Titus Theaters

The life of renowned British photojournalist Don McCullin is presented through contemporary interviews and archival photographs spanning his career from the late 1950s to the present. McCullin’s work covers a range of topics from around the world, including urban street gangs in London, life in the American south, and the hunger crisis in Africa, and he is widely recognized for his powerful war photographs of battlefields from Biafra and Beirut to Cambodia, Northern Ireland, and Vietnam. McCullin’s career was launched in 1959, when The Observer printed his photographs of a London street gang, and flourished at the Sunday Times Magazine, where he worked as a correspondent. The film provides a look at the stories behind the photographs, and why, after many years in the field and wide recognition for his artistry, McCullin continues to grapple with questions of conscience in recording the atrocities of war and human suffering.

McCullin. 2012. Great Britain. Directed by Jacqui Morris, David Morris. Courtesy the filmmakers. 90 min.
Friday, October 30, 7:00 p.m.
Saturday, October 31, 1:30 p.m.
Sunday, November 1, 5:00 p.m.
Monday, November 2, 7:00 p.m.
Tuesday, November 3, 4:00 p.m.
Wednesday, November 4, 7:00 p.m.
Thursday, November 5, 4:00 p.m.

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

The Mark of Zorro. 1920. USA. Directed by Fred Niblo.

Modern Matinees: The Film Library at 10

November 04, 2015–November 27, 2015

The Celeste Bartos Theater

In September 2015 we introduced 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.

By its 10th year, in 1945, the Film Library’s growing collection was already a stunning testament to curator Iris Barry’s keen curatorial acumen. The 1944 and 1945 acquisition files alone contain letters, internal memos, and wish lists that Barry sent to everyone from to studio heads and movie stars to colleagues and enthusiastic MoMA members. The films selected for this month’s series are all mentioned in these acquisition correspondences. Determined to strengthen the collection in the broadest manner possible, she focused on recent feature films made by major studios, using invaluable industry contacts she had made during an August 1935 visit to Hollywood and prudently nurtured for a decade.

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


To Save and Project: The 13th MoMA International Festival of Film Preservation

November 04, 2015–November 25, 2015

The Roy and Niuta Titus Theaters

The Museum of Modern Art presents the 13th annual edition of To Save and Project, an international festival of newly preserved and restored films from archives, studios, distributors, foundations, and independent filmmakers, from November 4 through 25, 2015.

This year’s festival includes some 75 newly restored features and shorts from 16 countries—nearly all of them New York or North American premieres—by filmmakers as diverse as Chantal Akerman, Dario Argento, Samuel Fuller, and Yasujirô Ozu. A wide variety of rarities are presented, from a major sidebar devoted to “The Unknown Orson Welles” to pioneering European feminist films (including a director’s cut of Helma Sanders-Brahms’s Germany, Pale Mother) and rediscoveries from Iran, Morocco, and the Philippines; and from long-lost silent comedies starring Clara Bow, Stan Laurel, and Oliver Hardy to extended original Italian releases of classics by Federico Fellini, Dario Argento, and Dino Risi.

Guest presenters include Guy Maddin, the Academy Award–nominated filmmaker Abderrahmane Sissako (Timbuktu, 2014), and noted film historians like John Canemaker, Tom Gunning, and Eddie Muller. In memory of Chantal Akerman, Babette Mangolte, the cinematographer of Jeanne Dielman, will introduce the screening and offer a remembrance of her. Nicola Mazzanti, the director of the Cinémathèque Royale de Belgique, collaborated with Ms. Akerman on the restorations of Jeanne Dielman, Je tu il elle, and Saute ma ville, and will introduce the three films on November 14 and 15.

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

Elizabeth (1998) 
Directed by Shekhar Kapur
Shown: Cate Blanchett

Cate Blanchett: A Tribute

November 05, 2015–November 15, 2015

The Roy and Niuta Titus Theaters

As the Department of Film marks its 80th anniversary, we’re thrilled to pay tribute to the honoree of MoMA’s eighth annual Film Benefit (on November 17). A woman who embodies the greatest traditions of screen acting while fiercely embracing innovation and risk, Cate Blanchett inspires others to deliver their best work, challenges the field to be more fully engaged with women artists and audiences, and propels cinema forward with intelligence and grace. Her performances in three films from MoMA’s collection—collaborations with directors Peter Jackson (The Lord of the Rings: The Fellowship of the Ring), Martin Scorsese (The Aviator), and Steven Soderbergh (The Good German)—are featured, alongside some additional examples of her best known and most celebrated work.

Organized by Rajendra Roy, The Celeste Bartos Chief Curator of Film.

DIS. Positive Ambiguity (beard, lectern, teleprompter, wind machine, confidence). 2015. Commissioned by The Museum of Modern Art. © 2015 DIS

Ocean of Images: New Photography 2015

November 07, 2015–March 20, 2016

Edward Steichen Photography Galleries, The Agnes Gund Garden Lobby, and the Bauhaus Staircase

Press Preview: Tuesday, November 3, 9:30-11:30 a.m.

New Photography, MoMA’s longstanding exhibition series of recent work in photography and a vital manifestation of the Museum’s contemporary program, will return this fall in an expanded, biannual format. On the occasion of its 30th anniversary, New Photography is expanding to 19 artists and artist collectives from 14 countries, and includes works made specifically for this exhibition. Ocean of Images: New Photography 2015 will be on view throughout the entirety of the Museum’s Edward Steichen Photography Galleries, as well as The Agnes Gund Garden Lobby and the Museum’s Bauhaus Staircase. Since its inception in 1985, the New Photography series has introduced the work of nearly 100 artists from around the globe early in their careers, including Philip-Lorca diCorcia, Rineke Dijkstra, Rachel Harrison, and Wolfgang Tillmans. This year’s edition explores contemporary photo-based culture, specifically focusing on connectivity, the circulation of images, information networks, and communication models. Ocean of Images is organized by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator, Lucy Gallun, Assistant Curator, and Roxana Marcoci, Senior Curator; with the assistance of Kristen Gaylord, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography.

Probing the effects of an image-based post-Internet reality, Ocean of Images examines various ways of experiencing the world: through images that are born digitally, made with scanners or lenses in the studio or the real world, presented as still or moving pictures, distributed as zines, morphed into three-dimensional objects, or remixed online. The exhibition’s title refers to the Internet as a vortex of images, a site of piracy, and a system of networks, which is reflected in the work of the 19 included artists and collectives. Ocean of Images presents new and recent bodies of work that critically redefine photography as a field of experimentation and intellectual inquiry, where digital and analog, virtual and real dimensions cross over. Coinciding with the opening of the exhibition, MoMA will also launch an online platform housing the live archive of the New Photography series, featuring documents and images from its history.

The artists in Ocean of Images are: Ilit Azoulay (Israeli, b. 1972), Zbyněk Baladrán (Czech, b. 1973), Lucas Blalock (American, b. 1978), Edson Chagas (Angolan, b. 1977), Natalie Czech (German, b. 1976), DIS (Collective, founded in New York in 2010), Katharina Gaenssler (German, b. 1974), David Hartt (Canadian, b. 1967), Mishka Henner (Belgian, b. 1976), David Horvitz  (American, b. 1982), John Houck (American, b. 1977), Yuki Kimura (Japanese, b. 1971), Anouk Kruithof (Dutch, b. 1981), Basim Magdy (Egyptian, b. 1977), Katja Novitskova (Estonian, b. 1984), Marina Pinsky (Russian, b. 1986), Lele Saveri (Italian, b. 1980), Indrė Šerpytytė (Lithuanian, b. 1983), and Lieko Shiga (Japanese, b. 1980).

Major support for the exhibition is provided by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation and by The William Randolph Hearst Endowment Fund.

Generous funding is provided by the Annenberg Foundation, The Contemporary Arts Council of The Museum of Modern Art, David Dechman and Michel Mercure, and Courtney Finch Taylor.

James White. 2015. USA. Directed by Josh Mond. Courtesy of The Film Arcade

The Contenders 2015

November 10, 2015–January 15, 2016

The Roy and Niuta Titus Theaters

Selected from major studio releases and top film festivals by curators in MoMA’s Department of Film, selections shown in The Contenders represent the best of mainstream movies, independents, foreign-language films, documentaries, and art-house sensations. Now in its eighth year, the series highlights films that are contenders for lasting historical significance, often with special appearances by directors and actors.

Previous guests have included directors Richard Linklater (Boyhood, 2014), Alfonso Cuarón (Gravity, 2013), Kathryn Bigelow (Zero Dark Thirty, 2012), and David O. Russell (Silver Linings Playbook, 2012) and actors Eddie Redmayne and Felicity Jones (The Theory of Everything, 2014), Jake Gyllenhaal (Nightcrawler, 2014; Prisoners, 2013), Jonah Hill (The Wolf of Wall Street, 2013), and Kristen Wiig (Bridesmaids, 2011).

• November 10: James White (2015); with appearances by filmmaker Josh Mond and actors Christopher Abbott and Cynthia Nixon
November 13: The Hunting Ground (2015)
November 15: The Wolfpack (2015)
November 19: Mistress America (2015)
November 20: 99 Homes (2015); with an appearance by filmmaker, Ramin Bahrani
November 21: Johnnie To’s Office (2015); U.S. premiere of the 3D version of To’s new film
November 22: The Walk (2015)
November 22: Bridge of Spies (2015)
November 24: The Forbidden Room (2015); with appearances by filmmakers Guy Maddin and Evan Johnson
November 27: Phoenix (2015)
November 27: Inside Out (2015)
November 27: Spy (2015)
November 28: Goodnight Mommy (2015)
November 28: A Pigeon Sat on a Branch Reflecting on Existence(2015)
November 29: 45 Years (2015)
November 30: Anomalisa (2015); with appearances by Duke Johnson and Charlie Kaufman
Over 20 additional screenings to be added in December and January

More screenings for #MoMAContenders will be announced on MoMA’s Facebook, Twitter (@MuseumModernArt), and Instagram (@themuseumofmodernart) accounts. Tickets for the MoMA screenings go on sale two weeks prior to each screening at 9:30 a.m. at The Museum of Modern Art and online at

The Hammer Museum will host The Contenders 2015 in Los Angeles from January 620, 2016. Information on their program will be announced at a later date at

Organized by the Department of Film.

The exhibition is supported by BNP Paribas.