SPRING 2020 MEMBER GUIDE - MOMA
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Spring 2020 Member
Guide
1
Welcome
If you’ve spent time in our collection galleries in recent years,
you’ve likely encountered Félix Fénéon, the mysterious man who
is the subject of Paul Signac’s hypnotic masterpiece Opus 217.
Against the Enamel of a Background Rhythmic with Beats and Angles,
Tones, and Tints, Portrait of M. Félix Fénéon in 1890 (which is also
the cover of this Guide). You’ll have the chance to get to know
him better when the exhibition Félix Fénéon: The Anarchist and
the Avant-Garde—From Signac to Matisse and Beyond opens on
March 22 (Member Previews begin March 19).
You might know that Fénéon was the art critic who coined the term
Neo-Impressionism to describe the work of Georges-Pierre Seurat
and Paul Signac in 1886. But did you know that he was also an
editor who published Alfred Jarry and Guillaume Apollinaire early
in their careers? And an art dealer, who signed Henri Matisse to a
first, crucially enabling contract in 1909 and who gave the Italian
Futurists their first exhibition in Paris in 1912? And a collector, who
amassed a renowned collection of paintings by Seurat, Signac,
Matisse, Pierre Bonnard, Amedeo Modigliani, and many others, as
well as an equally astonishing assortment of sculptures from Africa,
Oceania, and the Americas? And an anarchist—arrested, tried,
and acquitted in the case of a bombing in 1894—who believed that
art could play a fundamental role in the formation of a more just
and harmonious world?
By bringing together a selection of the most outstanding works that
Fénéon owned and championed, the exhibition offers a nuanced
portrait of one of the most fascinating but hidden figures in the
history of modern art. We look forward to introducing him to you!
Starr Figura
Curator, Department of Drawings and Prints
Cover: Paul Signac. Opus
217. Against the Enamel of a
Background Rhythmic with
Beats and Angles, Tones, and
Tints, Portrait of M. Félix
Fénéon in 1890 (detail). 1890.
Oil on canvas. Gift of Mr. and
Mrs. David Rockefeller, 1991.
© 2020 Artists Rights Society
(ARS), New York/ADAGP, Paris
1 1
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Say goodbye
to our opening
presentation
The new MoMA means
a collection in motion.
On May 12 we’ll reveal
20 newly installed
galleries on floors 2,
4, and 5. To enjoy our
inaugural hang one last
time, plan a visit before
April 6. See pages 10–
15 to learn more about
some of the works you
won't want to miss.
↘ → ↑ →
Celebrate Expand Engage with See Migrant
Armory Arts (or start!) leading artists Mother with
Week your record mom
collection Hear artists tell the
stories behind specific
Kick off one of the art Closing day of
world’s biggest weeks works during One
The fourth annual Dorothea Lange:
at MoMA’s annual Work, a new monthly
Come Together: Record Words & Pictures falls
Armory Party, where conversation series.
Fair and Music Festival, on Mother’s Day,
you’ll enjoy an open bar In May, Faith Ringgold
hosted by MoMA PS1 and members get an
and live performance will discuss her her
in collaboration with exclusive Last Look.
by alt-country crooner 1967 painting American
Other Music, offers Bring your favorite
Orville Peck. Wed, People Series #20: Die.
recent and rare lady to see Lange’s
Mar 4, 9:00 p.m. Thu, May 7, 6:30 p.m.
releases, merchandise, iconic photographs
Members can Members may reserve
and ephemera from one final time,
purchase discounted complimentary tickets
more than 75 labels, without the crowds.
tickets by visiting beginning April 7.
plus live performances, Sun, May 10. Learn
moma.org/ more at moma.org/
film, and workshops.
thearmoryparty2020. memberevents.
Mar 28–29. Members
can purchase
discounted tickets
by calling
(212) 333-1161.
From left: A view of the fourth-floor collection galleries. Shown: Oil on canvas. Gift of Agnes Gund, the Louis and Bessie Adler
Andy Warhol. Campbell’s Soup Cans. 1962. Acrylic with metallic Foundation, Inc., Robert and Meryl Meltzer, Jerry I. Speyer,
enamel paint on canvas, 32 panels. Partial gift of Irving Blum. Anna Marie and Robert F. Shapiro, Emily and Jerry Spiegel,
Additional funding provided by Nelson A. Rockefeller Bequest, an anonymous donor, and purchase. © 2020 Edward Ruscha.
gift of Mr. and Mrs. William A. M. Burden, Abby Aldrich Photo: Noah Kalina; Come Together: Record Fair and Music
Rockefeller Fund, gift of Nina and Gordon Bunshaft, acquired Festival at MoMA PS1. Photo: Walter Wlodarczyk; 2019 Armory
through the Lillie P. Bliss Bequest, Philip Johnson Fund, Party. Photo: Austin Donohue; Faith Ringgold. American People
Frances R. Keech Bequest, gift of Mrs. Bliss Parkinson, and Series #20: Die. 1967. Oil on canvas, two panels. Acquired
Florence B. Wesley Bequest (all by exchange). © 2020 Andy through the generosity of The Modern Women’s Fund, Ronnie F.
Warhol Foundation/ARS, NY/TM Licensed by Campbell’s Soup Heyman, Eva and Glenn Dubin, Lonti Ebers, Michael S. Ovitz,
Co. All rights reserved; Claes Oldenburg. Giant Soft Fan. Daniel and Brett Sundheim, and Gary and Karen Winnick;
1966–67. Vinyl filled with foam rubber, wood, metal, and plastic Dorothea Lange. Migrant Mother, Nipomo, California (detail).
tubing. The Sidney and Harriet Janis Collection. © 2020 March 1936. Gelatin silver print. Purchase
Claes Oldenburg; Edward Ruscha. OOF. 1962 (reworked 1963).
Member Must-Sees
Member Events
Get a sneak peek Discover new A view of the Marlene
Hess and James D.
at what’s new ways of looking Zirin Lounge. Photo:
Noah Kalina
Member Previews Member Gallery Talks
Be the first to see our new Dive deeper into MoMA’s collection
exhibitions. Open to all members and exhibitions. Member Gallery
and their accompanied guests; Talks take place on the first and
standard guest ticketing third Wednesday of each month;
policies apply. registration opens at 12:00 p.m. in
the Museum lobby on a first-come,
Félix Fénéon: The Anarchist and first-served basis. 12:30 p.m.
the Avant-Garde—From Signac
to Matisse and Beyond Taking a Thread for a Walk
Thu, Mar 19–Sat, Mar 21 Wed, Mar 4
Engineer, Agitator, Constructor: Artist’s Choice: Amy Sillman—
The Artist Reinvented The Shape of Shape
Thu, May 7–Sat, May 9 Wed, Mar 18
Judd
Start your day Wed, Apr 1
with art Dorothea Lange: Words & Pictures
Member Early Access Wed, Apr 15
Members get a head start in the
galleries, every day. See favorite Neri Oxman: Material Ecology
works in select galleries and Wed, May 6
exhibitions before the Museum
opens to the public. Daily, Félix Fénéon: The Anarchist and
9:30–10:30 a.m. the Avant-Garde—From Signac Never miss Browse good design
to Matisse and Beyond
Collection 1880s–1940s Wed, May 20 an exhibition Member Shopping Days
Member Last Look For a limited time, all members
Through Mar 22
Closing day of every major exhibition save 20% on curator-endorsed
Dorothea Lange: Words & Pictures Spend an evening is reserved just for members. Take products at the MoMA Design
advantage of a final opportunity to Stores and store.moma.org. Stock
Mar 23–May 10
with us view our most popular exhibitions up on publications, home decor,
Member After Hours without the crowds. artist products, tech, and more.
Félix Fénéon: The Anarchist and
Join us for exclusive hours when the Sat, Mar 7–Tue, Mar 10
the Avant-Garde—From Signac
Museum is closed to the public. Bring Sur moderno: Journeys of Fri, Apr 17–Mon, Apr 20
to Matisse and Beyond
friends and family, take in exhibitions Abstraction—The Patricia Phelps Sun, May 17–Wed, May 20
May 11–Jun 28
through special activations, and de Cisneros Gift
enjoy drinks at our cash bar. Selected Sun, Mar 15
galleries and exhibitions will be open.
Tue, Mar 17, Tue, Apr 7 & Dorothea Lange: Words & Pictures
Thu, May 28, 6:30–9:00 p.m. Sun, May 10
4 5
Judd
Mar 1–Jul 11, Member Previews: Feb 27–29 Judd
Félix Fénéon: The Anarchist and the Avant-Garde—
From Signac to Matisse and Beyond
Mar 22–Jul 25, Member Previews: Mar 19–21
Engineer, Agitator, Constructor: The Artist Reinvented
May 10–Sep 12, Member Previews: May 7–9
Dorothea Lange: Words & Pictures
Through May 9, Member Last Look: May 10
Neri Oxman: Material Ecology
Through May 25
Artist’s Choice: Amy Sillman—The Shape of Shape
Through Jun 7
Sur moderno: Journeys of Abstraction—
The Patricia Phelps de Cisneros Gift
Through Mar 14, Member Last Look: Mar 15
Haegue Yang: Handles
Through Apr 12
“I had always considered my work another activity of some kind,” Mar 1–Jul 11
Taking a Thread for a Walk remarked artist Donald Judd. “I certainly didn’t think I was making Floor 6, Cohen
sculpture.” One of the foremost sculptors of our time, Judd refused Center for Special
Through May 17
this designation and other attempts to label his art: his revolutionary Exhibitions
approach to form, materials, working methods, and display went
A Century of Sculpture beyond the set of existing terms in mid-century New York. His work, Member Previews
in turn, changed the language of modern sculpture. Bringing together Feb 27–29
Through May
sculpture, painting, print, drawing, and rarely seen works from
throughout Judd’s career, this is the first US retrospective in over Limited entry—
Adam Linder: Shelf Life 30 years to explore this artist’s remarkable vision. members skip the line.
Shahryar Nashat: Force Life Judd (1928–1994) began his career working as a painter while
Through Mar 8 Donald Judd. Untitled. 1963.
studying art history and writing art criticism. Among a generation Cadmium red light oil on wood
of artists who sought to move past Abstract Expressionism, Judd with iron pipe. Hirshhorn
Shuzo Azuchi Gulliver: Cinematic Illumination shifted from two to three dimensions, into what he called “real Museum and Sculpture Garden,
space.” By the mid-1960s, he commenced his lifelong practice of Smithsonian Institution,
Mar 28–Apr 26 Washington, DC, Joseph H.
using industrial materials and delegating production of his work Hirshhorn Purchase Fund, 1991.
to local metal shops. In the following years, “boxes,” “stacks,” and © 2020 Judd Foundation/
Private Lives Public Spaces “progressions” continued as his principal framework to introduce Artists Rights Society (ARS),
different combinations of color and surface. Judd surveys the New York. Photo: Alex Jamison.
Through Jul 5 Hirshhorn Museum and
complete evolution of the artist’s career, culminating in the last Sculpture Garden
decade of his life, when Judd intensified his work with color and
continued to lay new ground for what ensuing generations would
come to define as sculpture.
In the Galleries 7
Félix Fénéon: The Anarchist
and the Avant-Garde—From
Signac to Matisse and Beyond
Known among his friends as a “secret animator,” the French art Mar 22–Jul 25
critic, editor, publisher, dealer, collector, and anarchist Félix Fénéon Floor 3,
(1861—1944) played a key role in the careers of leading artists from Steichen Galleries
Georges Seurat and Paul Signac to Pierre Bonnard and Henri Matisse.
In addition to promoting and collecting the work of these and Member Previews
other artists he befriended in the burgeoning Paris art world of the Mar 19–21
1880s through the 1930s, Fénéon was also one of the first European
Paul Signac. Opus 217. Against
collectors of art from Africa, Oceania, and the Americas, and the Enamel of a Background
he endeavored to bring new recognition to such works. As a fervent Rhythmic with Beats and Angles,
anarchist during a period of dramatic social change and political Tones, and Tints, Portrait of
Henri Matisse. Interior with a
turmoil, he believed that avant-garde art and radical politics were M. Félix Fénéon in 1890. 1890.
Young Girl (Girl Reading). Paris
Oil on canvas. Gift of Mr. and
two sides of the same coin. Mrs. David Rockefeller, 1991. 1905–06. Oil on canvas. Gift of
© 2020 Artists Rights Society Mr. and Mrs. David Rockefeller,
The exhibition, the first dedicated to Fénéon, features some 130 (ARS), New York/ADAGP, Paris 1991. © 2020 Succession H.
Matisse/Artists Rights Society
objects, including major works that he championed and collected, (ARS), New York
to illuminate his little-known but fascinating career. Together these
works reveal the profound and lasting legacy of Fénéon’s bold,
forward-looking vision.
8 9
Collection This tribute to New York artist Florine From left: Florine Stettheimer. Family
Portrait, II. 1933. Oil on canvas. Gift of
Stettheimer brings her playful and Miss Ettie Stettheimer. © Estate of Florine
1880s–1940s
exuberant works together with those from Stettheimer; Hannah Höch. Collage II (On
her circle and like-minded artists working Filet Ground). c. 1925. Cut-and-pasted
today. Here’s just a taste of the surprises printed and painted paper on printed paper.
Gift of the artist and of Rose Fried. © 2020
in store. See these works before this gallery Hannah Höch/Artists Rights Society (ARS),
is reinstalled in April. New York/VG Bild-Kunst, Germany; Marcel
Duchamp. Fresh Widow. 1920. Miniature
French window, painted wood frame, and
panes of glass covered with black leather.
Katherine S. Dreier Bequest. © 2020
Artists Rights Society (ARS), New York/
ADAGP, Paris/Estate of Marcel Duchamp;
Sophie Taeuber-Arp. Head. 1920. Painted
wood with glass beads on wire. Mrs. John
Hay Whitney Bequest (by exchange) and
Committee on Painting and Sculpture
Funds. © 2020 Artists Rights Society (ARS),
New York/VG Bild-Kunst, Bonn
Floor 5, Gallery 509, worlds of art, dance, literature, gallery with Fresh Widow at the far left side of this family Fresh Widow. Constructed by a recent war and the bawdy
Florine Stettheimer music, and theater. Such figures, (1920), a work he attributed portrait. She was unabashedly carpenter in accordance with tradition of amorous (or “fresh”)
and Company along with Stettheimer’s own to his female alter ego, Rose proud of this unconventional Duchamp’s instructions, Fresh widows of soldiers. Head.
New York artist Florine immediate family, often appear Sélavy. Works by other and personal painting, Widow is a reduced scale version Sophie Taeuber-Arp’s Head
Stettheimer was a painter and in her elaborately detailed contemporaries, as well as frequently referring to it as “my of the traditional floor-length combines mechanically
poet; a designer of highly portraits, which blur distinctions like-minded artists working masterpiece.”Collage II (On Filet French window. Duchamp produced turned-wood pieces
original furniture, picture between private life and public today, extend Stettheimer’s Ground). Here, Hannah Höch covered the glass panes with and beaded ornaments typically
frames, stage sets, and performance, domestic settings interests in accessorizing and feminizes the Dada movement’s panels of black leather, associated with domestic
costumes; and a celebrated and theatrical stages. One of ornamentation, design and engagement with the everyday obstructing the metaphorical handicrafts to create a sculpture
salon host. The parties she Stettheimer’s closest friends decoration. Family Portrait, II. by pairing craft techniques, view through the window. The that challenges the boundaries
threw in her eccentrically from the mid-1910s to early Dressed in a black pantsuit traditionally seen as women’s artist transforms “French separating craft from fine art.
decorated studio brought 1920s was the artist Marcel and with palette and paintbrush work, with the avant-garde window” into the title “Fresh
together luminaries from the Duchamp, represented in this in hand, Stettheimer appears strategy of photomontage. Widow,” a pun that points to the
10 11
Collection Unconventional materials make for new From left: Jacques Villeglé.
122 rue du temple. 1968.
modes of collaboration, and bold actions raise Torn-and-pasted printed paper
1940s–1970s
the stakes for activism in art. In addition to on canvas. Gift of Joachim
works by the likes of Jasper Johns and Robert Aberbach (by exchange).
Rauschenberg, the lesser-known artists © 2020 Artists Rights Society
(ARS), New York/ADAGP, Paris;
featured here take center stage with their Niki de Saint Phalle. Shooting
experimental approaches. See these works Painting American Embassy.
before this gallery is reinstalled In April. 1961. Paint, plaster, wood,
plastic bags, shoe, twine, metal
seat, axe, metal can, toy gun,
wire mesh, shot pellets, and
other objects on wood. Gift
of the Niki Charitable Art
Foundation. © Niki Charitable
Art Foundation; Daniel LaRue
Johnson. Freedom Now,
Number 1. August 13, 1963–
January 14, 1964. Pitch on
canvas with “Freedom Now”
button, broken doll, hacksaw,
mousetrap, flexible tube, and
wood. Given anonymously
Floor 4, Gallery 408, practices and challenged and political notices he used to billboards as a precursor for and advertising reality,” Saint They included a dismembered
Stamp, Scavenge, Crush categorization by incorporating make this work. After tearing his process. Shooting Painting Phalle was a key figure among doll, a mousetrap, a hacksaw,
A bedsheet hand-printed with readymade goods, symbols, fragments of the original images, American Embassy. This work a generation of artists exploring and a “Freedom Now” button—
a rubber laundry stamp, a and even trash into their works. he pasted these passages of is one of Niki de Saint Phalle’s the potential of found and a relic of the Congress of Racial
taxidermied bald eagle affixed Collaboration reigned as friends color, text, and image into a “shooting paintings,” a series, everyday objects through Equality, an interracial activist
to a canvas, a car compacted and lovers from various fields chance composition. Many of begun in February 1961, that performance-based practice. group that organized freedom
by a hydraulic press—these are worked with one another to the fliers used here announced repositioned the art of painting Freedom Now, Number 1. In rides protesting segregation.
just some of the repurposed expand the meaning of art to the city’s May 1968 student and and assemblage as something 1963, inspired by the intensifying The objects are almost entirely
materials used by international include the world around it. worker demonstrations, and the explicitly violent. The sole Civil Rights Movement, Los obscured by pitch—a resin used
artists working from the mid- 122 rue du temple. 122 rue du artist considered the people female member of the Nouveaux Angeles–based Daniel LaRue for waterproofing boats as well
1950s to early 1960s. Sculptors, Temple is the Paris address from who had posted them to be his Réalistes (New Realists) group, Johnson conducted research in as tarring individuals for public
choreographers, composers, which Jacques Villeglé detached collaborators, understanding which championed the “poetic 10 Southern states and collected torture—and evoke the domestic
and painters blended their many of the movie posters their use of advertising recycling of urban, industrial, objects for his constructions. and mundane threat of violence.
12 13
Collection I try to present people with an extreme
There’s nothing more poignant than a portrait. From left: Chris Ofili. The
Holy Virgin Mary. 1996. Acrylic,
Here artists working in a variety of mediums
amount of dignity. They’re always going to oil, polyester resin, paper
1970s–Present
reference, critique, and push the meaning of collage, glitter, map pins, and
representation to tell personal stories that be stared at, but I try and make the portraits elephant dung on canvas.
defy convention. See these works before this
stare back.
Gift of Steven and Alexandra
Cohen; Catherine Opie. Dyke.
gallery is reinstalled in April. 1993. Chromogenic color print.
Committee on Photography
Catherine Opie, artist Fund and gift of Agnes Gund.
© 2020 Catherine Opie; Felix
Gonzalez-Torres. “Untitled”
(Perfect Lovers). 1991.
Clocks, paint on wall. Gift of
the Dannheisser Foundation.
© 2020 The Felix Gonzalez-
Torres Foundation, Courtesy
Andrea Rosen Gallery,
New York
Floor 2, Gallery 208, historical images with a sense of the self became both a reflection and imperious, yet also suffused described “twisted social Lovers). Initially set to the same
True Stories their own selfhood, making the of and a defense against the with sexual potency. Close documentary photographer,” time, these identical battery-
In the 1990s, as the culture past startlingly current. Sculpture culture in which it was produced, inspection reveals the delicate, made pictures in gay, lesbian, powered clocks will eventually
wars raged, many artists turned became a means of exploring prompting artists to collage fluttering cherubim surrounding and transgender leather-culture fall out of sync, or may stop
to representing themselves the body under pressure. With public and private concerns. her to be crafted from images of circles in Los Angeles during the entirely. Conceived shortly after
and their communities through the rise of the Internet, cable Epitomizing the spirit of the time, women’s buttocks clipped from 1990s. Here the woman’s shorn Felix Gonzalez-Torres’s partner
alternative modes of portraiture, television, and the 24-hour news Chris Ofili stated, “I try to bring pornographic magazines. “When hair and freckled shoulders was diagnosed with AIDS, this
asserting their identities and cycle, national and international all that I am to my work.” The I go to the National Gallery and frame the tattooed word at the work uses everyday objects to
presence. Photography and video traumas—such as the Los Holy Virgin Mary. Depicted on a see paintings of the Virgin Mary, nape of her neck. By taking track and measure the inevitable
allowed for a diaristic approach, Angeles riots, the rampant global lush, glittering ground of orange I see how sexually charged possession of the label “dyke” flow of time. When one of the
capturing change over time, and spread of the AIDS epidemic, resin that recalls the gold leaf they are. Mine is simply a hip- through its imprint on her body, clocks stops or breaks, they can
life as an ongoing performance. and the first Iraq war—became of religious icons, Ofili’s Virgin hop version,” Ofili has said. she aimed to render the slur both be reset, thereby resuming
In painting, artists suffused art- public theater. In this context, Mary is resplendent, majestic, Dyke. Catherine Opie, a self- powerless. “Untitled” (Perfect perfect synchrony.
14 15
Engineer, Agitator, Constructor: Dorothea Lange: Neri Oxman: Material Ecology Artist’s Choice: Amy Sillman—
The Artist Reinvented Words & Pictures The Shape of Shape
From tree bark and crustacean shells to
silkworms and human breath, nature has
“We regarded ourselves as engineers, we Toward the end of her life, Dorothea Lange Artist’s Choice: Amy Sillman—The Shape
influenced Neri Oxman’s design and production
maintained that we were building things… we put (1895–1965) reflected, “All photographs—not of Shape is the 14th installment of MoMA’s
processes, just as it has influenced architects
our works together like fitters.” So declared the only those that are so called ‘documentary’… Artist’s Choice series, in which a contemporary
across centuries. Unlike her predecessors,
artist Hannah Höch, describing a radically new can be fortified by words.” A committed social artist organizes an installation drawn from
however, Oxman has developed not only new
approach to artmaking in the 1920s and ’30s. observer, Lange paid sharp attention to the the Museum’s collection. The exhibition
ways of thinking about materials, objects,
Such wholesale reinvention of the role of the artist human condition, conveying stories of everyday features rarely seen works selected by
buildings, and construction processes, but
and the functions of art took place in lockstep life through her photographs and the voices they Sillman (b. 1955), an artist who has helped
also new frameworks for interdisciplinary—
with shifts in industry, technology, and labor, and drew in. Dorothea Lange: Words & Pictures, the redefine contemporary painting, pushing
and even interspecies—collaborations.
amid profoundly momentous events: World War I, first major MoMA exhibition of Lange’s work in the medium into installations, prints, zines,
the Russian Revolution, the collapse of the Austro- 50 years, brings iconic works from the collection animation, and architecture. Here, Sillman
She coined the term “material ecology” to
Hungarian Empire, and the rise of fascism. together with lesser known images—from early presents a highly personal exploration
describe techniques and objects that are
street photographs to her examination of the of shape—the ever-shifting boundaries that
informed by and directly engage with the
Highlighting figures such as Aleksandr Rodchenko, public defender system. Her pictures’ complex define what and how we see—in modern art.
structures, systems, and aesthetics of nature.
Liubov Popova, John Heartfield, and Fré Cohen, relationships to words show Lange’s interest Works spanning vastly different time periods,
Integrating advanced 3-D printing techniques
Engineer, Agitator, Constructor demonstrates in art’s power to deliver public awareness and places, and mediums engage the curious
with natural phenomena and behaviors,
the ways in which artists reimagined their to connect to intimate narratives in the world. forms and unpredictable contours of bodies,
material ecology operates at the intersection
roles to create a dynamic art for a new world. fragments, gestures, and shadows.
of biology, engineering, materials science,
Common to all was a commitment to innovative Presenting Lange’s work in its diverse contexts—
and computer science. While individually
visual languages, from photomontage to new photobooks, Depression-era government Reflecting on her curatorial process, Sillman
these works are elegant and arresting, taken
typography, and ambitions to reach mass reports, newspapers, magazines, poems— said, “Even though shape is everywhere,
as a group they constitute a revolutionary
audiences. This exhibition marks a recent along with the voices of contemporary artists, we don’t talk about it much; it’s not a hot topic
new philosophy of designing, making—and
transformative acquisition from The Merrill C. writers, and thinkers, the exhibition offers in art, like color or systems. So I decided to
even unmaking—the world around us.
Berman Collection, and offers a window onto a more nuanced understanding of Lange’s look for works in MoMA’s collection in which
the experimentation and political engagement vocation, and new means for considering words shape does prevail over other considerations.
The seven projects in this exhibition are
of art in the interwar period. May 10–Sep 12, and pictures today. Through May 9, Floor 2, I found a wealth of artworks, far too many
“demos” that might someday be available to all
Floor 3, Menschel Galleries. Member Previews: Sachs Galleries. Member Last Look: May 10 to include here, by artists who dig into life’s
architects and designers for a great variety of
May 7–9 surfaces, who start with physical perception
applications. Together, they celebrate a new
Join us for a Member Gallery Talk on rather than abstract logic. Often eccentric,
age in which biology, architecture, engineering,
Wed, Apr 15, at 12:30 p.m. poetic, or intimate, these works are like bodies
Valentina Kulagina. Maquette for We Are Building (Stroim). and design join forces to build the future.
1929. Gouache, cut-and-pasted halftone prints, sandpaper, that speak, operating at the hub of language
Through May 25, Floor 1
and watercolor on paper. The Merrill C. Berman Collection. and matter, signs and sensations.” Through
Acquired through the generosity of Alice and Tom Tisch, Jo Jun 7, Floor 5
Carole and Ronald S. Lauder, Sue and Edgar Wachenheim III, Join us for a Member Gallery Talk on
David Booth, Marlene Hess and James D. Zirin, Marie-Josée Wed, May 6, at 12:30 p.m.
and Henry R. Kravis, Jack Shear, the Patricia Bonfield Endowed Join us for a Member Gallery Talk on
Acquisition Fund for the Design Collection, Daniel and Jane Wed, Mar 18, at 12:30 p.m.
Och, The Orentreich Family Foundation, Emily Rauh Pulitzer,
The Modern Women's Fund; and by exchange: Gift of Jean
Dubuffet in honor of Mr. and Mrs. Ralph Colin, The Judith Neri Oxman and The Mediated Matter Group. Lazarus. 2016. Installation view of Artist’s Choice: Amy Sillman—The Shape
Rothschild Foundation Contemporary Drawings Collection, Dorothea Lange. Tractored Out, Childress County, Texas. 1938. Produced by, and in collaboration with, Stratasys, Ltd. Courtesy of Shape, The Museum of Modern Art, New York, October 21,
and the Richard S. Zeisler Bequest Gelatin silver print. Purchase The Mediated Matter Group 2019–June 7, 2020. Photo: Heidi Bohnenkamp
16 17Sur moderno: Journeys Haegue Yang: Handles Taking a Thread for a Walk A Century of Sculpture
of Abstraction—The Patricia
Haegue Yang (Korean, b. 1971) is known for genre- Anni Albers wrote in 1965, “Just as it is possible The Abby Aldrich Rockefeller Sculpture Garden
Phelps de Cisneros Gift defying, multimedia installations that interweave to go from any place to any other, so also, at The Museum of Modern Art holds a special
a range of materials and methods, historical starting from a defined and specialized field, place in the hearts of many. From its inception
Sur moderno: Journeys of Abstraction— references, and sensory experiences. Handles, can one arrive at a realization of ever-extending in 1939, the Sculpture Garden, which launched
The Patricia Phelps de Cisneros Gift is drawn Yang’s installation commissioned for MoMA’s relationships… traced back to the event of the very concept of the garden as outdoor
primarily from the paintings, sculptures, Marron Atrium, features six sculptures, dazzling a thread.” Such events quietly brought about gallery for changing installations, has hosted
and works on paper donated to the Museum geometries, and the play of light and sound, some of modern art’s most intimate and exhibitions of sculpture and architectural
by the Colección Patricia Phelps de Cisneros. to create a ritualized, complex environment with communal breakthroughs, challenging the structures, performances, and social events.
This extraordinarily comprehensive collection both personal and political resonance. widespread marginalization of weaving as A Century of Sculpture features a selection
provides the foundation for a journey through “women’s work.” In Albers’s lifetime, textiles of sculptures that have become synonymous
the history of abstract and concrete art Handles are points of attachment and material became newly visible as a creative discipline— with the space and Philip Johnson’s elegant
from South America at mid-century. The catalysts for movement and change. Yang’s one closely interwoven with the practices and enduring design. The works on view
exhibition explores the transformative power installation considers this everyday interface of architecture, industrial design, drawing, chart more than one hundred years of artistic
of abstraction in Brazil, Venezuela, Argentina, between people and things. Steel grab bars are and sculpture. production, from Auguste Rodin’s Monument
and Uruguay, focusing on both the way mounted on the walls amid an iridescent pattern, to Balzac (1898), made in honor of one of
that artists reinvented the art object itself and put to functional use in her sonic sculptures. True to its title, this exhibition takes a thread France’s greatest novelists, to Group of Figures
and the role of art in the renewal of the Mounted on casters and covered in skins of bells, for a walk among ancient textile traditions, (2006–08) by German artist Katharina Fritsch,
social environment. Through Mar 14, the sculptures generate a subtle rattling sound early-20th-century design reform movements, comprising nine boldly-colored, life-size
Floor 3. Menschel Galleries. Member when maneuvered by performers. The natural and industrial materials and production figures, among them St. Michael, a Madonna,
Last Look: Mar 15 ambient noise of birdsong, which also permeates methods. Featuring adventurous combinations a giant, and a snake. Favorites such as Pablo
the space, was in fact recorded at a tense political of natural and synthetic fibers and spatially Picasso’s bronze She-Goat (1950) and Isa
moment in the demilitarized zone between dynamic pieces that mark the emergence Genzken’s 36-foot-tall Rose II (2007) join
North and South Korea during the historic summit of a more sculptural approach to textile art works newly on view, including a multipart
in 2018. Reporters strained to hear the private beginning in the 1960s, this show highlights painted-steel sculpture from 1968 by Donald
conversation between the two nations’ leaders, the fluid expressivity of the medium. Through Judd, and Louise Bourgeois’s Quarantania, III
but their audio devices only picked up the May 17, Floor 3, Johnson Galleries (1949–50). Through May, Rockefeller
chirping of birds and the faint click of cameras. Sculpture Garden, Floor 1
Through Apr 12, Floor 2, Marron Atrium Join us for a Member Gallery Talk on
Wed, Mar 4, at 12:30 p.m. For a refreshing pause, head outside and
Handles will be activated on the first listen to the meditation stop in our new
Thursday of each month for our evening Sculpture Garden playlist, available at
event, First Thursdays (see page 32). moma.org/audio.
Installation view of Sur moderno: Journeys of Abstraction—The Haegue Yang. Handles. 2019. Commissioned for the Donald B. Installation view of Taking a Thread for a Walk, The Museum Installation view of A Century of Sculpture, The Museum
Patricia Phelps de Cisneros Gift, The Museum of Modern Art, New Catherine C. Marron Atrium by The Museum of Modern Art, New of Modern Art, New York, October 21, 2019–May 17, 2020. of Modern Art, New York, October 21, 2019–May 2020.
York, October 21, 2019–March 14, 2020. Photo: Noah Kalina York. © Haegue Yang. Installation view, The Museum of Modern Art, Photo: Denis Doorly Photo: Heidi Bohnenkamp
New York, October 21, 2019–April 12, 2020. Photo: Denis Doorly
18 19Some Favorites
→
Chris Ware’s
on Magazine “I Guess
We’re Here”
It’s about 15 minutes
by subway from
MoMA in Midtown to
Magazine is MoMA’s online publication, Images, clockwise from top
right: Illustration by Chris Ware; MoMA PS1 in Queens.
featuring passionate perspectives on the art, Kalup Linzy. Resemblance 3. We took this timeframe
2019. Collage on canvas; as a creative prompt
ideas, and culture of our time. You’ll find original Diana Hartman repairs Paula
to invite musicians,
content and commissioned projects including
Modersohn-Becker’s Self-
Portrait with Two Flowers in writers, and artists to
audio, video, drawings, poetry, and essays. Her Raised Left Hand (1907);
Lewis W. Hine. Sadie Pfeifer,
produce an original
work. Acclaimed artist
And members receive Magazine’s monthly a Cotton Mill Spinner, Lancaster,
South Carolina. 1908. Gelatin
and writer Chris Ware
newsletter, so keep an eye on your inbox. silver print. Purchase used the opportunity
to imagine two women
on a journey. As the
Here’s just a sampling of some of our most mother and daughter
make their way
popular stories. Read, watch, and listen to across the East River
them all at moma.org/magazine. underground to PS1,
they privately reflect on
their relationship and
the moments they hold
→ in memory.
Rosanne Cash,
the River, and
the Thread
The opening track on
Rosanne Cash’s 14th
studio album, The
River & The Thread,
was inspired in part by
her friend, the fashion
↑
designer Natalie Chanin,
teaching her to sew. Conserving
To accompany Taking
a Thread for a Walk,
a landmark
an exhibition of textiles self-portrait
and fiber art from In the inaugural episode
→
MoMA’s collection, of Conservation Stories, 24 Hours with
Cash created a playlist. Diana Hartman uses an
In this interview, she eye-surgery needle and Kalup Linzy
shares her thoughts microscope to repair Artist Kalup Linzy
in choosing these tears in the canvas starts his day with
songs and about the of Paula Modersohn- Whitney Houston and
connections between Becker’s Self-Portrait hypertension and
weaving, making art, and with Two Flowers in ends it with gratitude.
writing music. According Her Raised Left Hand This feature is part of
to string theory, the (1907), among the oldest our A Day series, in
universe might be made paintings by a female which writer Heidi
up of tiny connecting artist in the collection, Julavits invites artists
threads—so it’s no and thought to be one to share an account
surprise we were able of the first self-portraits of their day with us.
to find so many. of a pregnant woman.
20 21Niki de Saint Phalle Marking Time: Art in the
Age of Mass Incarceration
Niki de Saint Phalle created exuberant works intended to transform Apr 5–Sep 7
environments, individuals, and society. The first New York museum MoMA PS1
exhibition of this visionary feminist and activist artist features over Marking Time explores the centrality of incarceration to Apr 5–Aug 23
100 works that highlight Saint Phalle’s interdisciplinary approach contemporary art and culture, featuring art made by people in MoMA PS1
Niki de Saint Phalle. Tarot
and engagement with pressing social and political issues. Garden. 1991. Lithograph.
prisons and work by nonincarcerated artists concerned with state
© 2019 NIKI CHARITABLE repression, erasure, and imprisonment. Highlighting the work Tameca Cole. Locked in a
Early in her career, Saint Phalle pushed against accepted artistic ART FOUNDATION. Photo: of more than 25 artists, including American Artist, Tameca Cole, Dark Calm. 2016. Collage and
practices, creating work that used assemblage and performative
Ed Kessler Russell Craig, James “Yaya” Hough, Jesse Krimes, Mark Loughney, graphite on paper. Collection
modes of production. Beginning in the late 1960s, Saint Phalle Gilberto Rivera, and Sable Elyse Smith, the exhibition bears Ellen Driscoll
starting making large-scale sculptures, which led to an expansion witness to artists’ experimentation with and reimagining of the
of her practice into architectural projects, sculpture gardens, books, fundamentals of living—time, space, and physical matter—pushing
prints, films, theater sets, clothing, jewelry, and, famously, her the possibilities of these basic features of daily experience to
own perfume. From this period forward, Saint Phalle also created create new aesthetic visions achieved through material and formal
a series of innovative works that reflect an ethos of collaboration invention. The resulting work is often laborious, time-consuming,
and engagement with the politics of social space. Addressing and immersive, as incarcerated artists manage penal time through
subjects that ranged from women’s rights to climate change and their work and experiment with the material constraints that shape
HIV/AIDS awareness, Saint Phalle was often at the vanguard in art making in prison. Alongside the exhibition, a series of public
addressing the issues of her time. programs, education initiatives, and ongoing projects at MoMA PS1
will explore the social and cultural impact of mass incarceration.
Central to the exhibition is an examination of Saint Phalle’s large-
scale outdoor sculptures and architectural structures, including
Tarot Garden, a massive architectural park outside Rome, Italy,
which she began constructing in the late 1970s and continued to
develop alongside key collaborators until her death.
22 23Private Lives Public Spaces New Directors/
New Films 2020
Long before camera phones, the 1923 introduction of small- Through Jul 5 Now in its 49th edition, the New Directors/New Films festival is New Mar 25–Apr 5
gauge film stock heralded the unofficial birth of affordable home Titus Theaters York’s premier showcase for the work of emerging filmmakers from MoMA and
moviemaking. Over the subsequent decades, many thousands 1 and 2 around the world. The list of directors who have shown films at New Film at Lincoln
of reels of amateur film shot around the world amounted to one Directors/New Films over the last near half-century includes such Center
of the largest and most significant bodies of moving-image work artists as Pedro Almodóvar, Chantal Akerman, Andrea Arnold, Luca
Installation view of Private
produced in the 20th century. Private Lives Public Spaces, the Lives Public Spaces, The Museum Guadagnino, Hou Hsiao-hsien, Kirsten Johnson, Terence Nance, A Febre (The Fever). 2019.
Museum’s first gallery installation of home movies and amateur of Modern Art, New York, Christopher Nolan, Laura Poitras, Spike Lee, Sarah Polley, Kelly Brazil/France/Germany.
films drawn exclusively from its collection, shines a light on a October 21, 2019–July 5, 2020. Reichardt, Guillermo del Toro, Joachim Trier, and Denis Villeneuve. Directed by Maya DaRin
Photo: Martin Seck
seldom-recognized cinematic revolution. Any of the filmmakers in this year’s lineup have the potential to be
as important to the art of cinema as these. Join us in celebrating the
This 100-screen presentation of virtually unseen, homemade continued vitality and promise of the medium.
works dating from 1907 to 1991 explores the connections
between artist’s cinema, amateur movies, and family filmmaking Tickets for MoMA and Film at Lincoln Center members go on sale
as alternatives to commercial film production. Staged as an March 9, and tickets for the general public go on sale March 12.
immersive video experience, the exhibition reveals an overlooked For more information and screening details, visit newdirectors.org.
history of film from the Museum’s archives, providing fresh
perspectives on a remarkably rich precursor to the social media
of today.
Black Family Film Center 25Film Series
Members see films
for free, every day.
Get screening details
and reserve tickets at
the Member Desk, or
visit moma.org/film.
Clockwise rom top left:
It’s All in Me: Biograph/Edison: “In Times like These”: The Alumni Trilogy: Participant at MoMA One Mile from Heaven.
Black Heroines Restorations and Amos and Efratia Gitai Celebrating 30 Years Founded 15 years ago to create 1937. USA. Directed by
Borrowing a lyric from Rediscoveries from Celebrating the English- of the Jerusalem meaningful social change Allan Dwan. The Museum
of Modern Art Film Stills
Chaka Khan’s anthem “I’m the Collection language publication of Sam Spiegel School through storytelling, Participant Archive; The Ploughshare.
Every Woman,” It’s All in Me This series highlights restorations Efratia Gitai: Correspondence Under the aegis of Renen has produced some of the 1915. USA. Directed by John
celebrates both a wide range and rediscoveries from the last 1929–1994, MoMA presents Schorr, the Jerusalem Sam most admired films of our era. H. Collins. The Museum of
of representations and 10 years, drawn from MoMA’s a staged reading with the Spiegel School has produced Including both documentary Modern Art Film Stills Archive;
Kedma. 2002. Israel/Italy/
potent expressions of growth collection of early Edison and actors Marthe Keller and some of the most exciting and narrative films, Participant France. Directed by Amos
and self-assertion by black Biograph films. Many will be Ronald Gutman on March 5, student films in international projects have proven to be Gitai. Courtesy AGAV Films;
women and girls in films seen on a big screen for the first as well as four fiction cinema today. In continued urgently relevant and highly In Jersulaem. 1963. Israel.
drawn entirely from MoMA’s time in over a hundred years, features by Efratia Gitai’s son, recognition of the School’s influential in the changing world Directed by David Perlov.
Courtesy Sam Spiegel Film
collection, spanning from and all offer insights into the the Israeli filmmaker Amos vibrant 30-year history, of cinema. That many are also School, Adam Greenberg;
1907 to 2018. Through Mar 5 development of film as an art Gitai—including Esther (1986) MoMA presents the Alumni audience favorites speaks to RBG. 2018. USA. Directed by
form, serving as windows into and Berlin-Jerusalem (1989) Trilogy, featuring the North the hunger for stories that Betsy West, Julie Cohen; From
early 20th-century America. in new digital restorations. American premiere of engage with the critical issues Inside of Here. 2020. USA.
Directed by Bill Basquin; Moyra
Mar 4–25 Mar 5–9 The Voice of Ahmad (2019). of our time. Apr 29–May 17 Davey. i confess. 2019. Video
Apr 23–26 (color, sound), 56:46 min.
Courtesy the artist; greengrassi,
London; and Galerie Buchholz,
Berlin/Cologne/New York;
What Time Is It There? 2001.
Taiwan/France. Directed by
Tsai Ming-Liang; A Man Called
Adam. 1966. USA. Directed by
Leo Penn. Courtesy Everett
Collection; Casino Royale.
In Character: Daniel Craig 2006. UK/Czech Republic/
On the eve of his last outing USA/Germany/Bahamas.
as James Bond, we celebrate Tsai Ming-Liang: In Directed by Martin Campbell.
Daniel Craig with a survey of Modern Matinees: Dialogue with Time, Modern Mondays © Metro-Goldwyn-Mayer
Pictures/Photofest. Courtesy
his most memorable screen Cicely Tyson Memory, and Self Moyra Davey Through intimate evenings of Photofest
roles. Mar 3–22 Since the early 1950s, Harlem- For close to three decades, This cinematic survey— screening and conversation,
born Cicely Tyson has been Tsai Ming-Liang has defied the first in the US for the this ongoing series explores
acting professionally, nimbly cinematic conventions Canadian, New York–based adventurous approaches to the
shifting between nascent by stretching the limits of photographer, writer, and moving images and presents
television series, the New York minimalism and stillness to filmmaker Moyra Davey— new cinematic work from
stage, and motion pictures. explore themes of solitude, presents moving image work around the world. This spring,
This Modern Matinees tribute desire, the passage of time, by Davey going back to the Modern Mondays continues
highlights her pivotal roles in and memory. Apr 10–25 1990s. Opens Apr 30 with Jennifer Bolande, Bill
Sounder, The Autobiography of Basquin, Narimane Mari, Simon
Miss Jane Pittman, and more. Liu, Zina Saro-wiwa, and more.
Mar 4–Apr 30 Full details at moma.org/
modernmondays.
26 27Adam Linder: Shelf Life Shuzo Azuchi Gulliver:
Shahryar Nashat: Force Life Cinematic Illumination
For the inaugural commissions in the Marie-Josée and Henry Kravis Through Mar 8
Studio, choreographer Adam Linder presents the performance Shelf Floor 4
Life, and artist Shahryar Nashat presents the installation Force Life.
The exhibitions
Linder’s Shelf Life is a choreographic work for six dancers. Using a alternate throughout In 1969, Shuzo Azuchi Gulliver conceived of an immersive moving Mar 28–Apr 26
variety of dance vocabularies—as well as costumes, props, and their the day, so that only image event created by beaming images from 18 slide projectors Floor 4
voices—the performers interpret three concepts that together form one is on view at across the Tokyo discotheque Killer Joe’s. The resulting Cinematic
what Linder describes as a “nervous system of dance”: the barre a given time. See Illumination had the effect of transforming frame-by-frame film Shuzo Azuchi Gulliver.
where movement begins; the blood flow that propels the body; and moma.org for the projection into a 360-degree environment intended to meld with Cinematic Illumination.
the brain that reflects on the dancing body, its physical impulses schedule. the sound, lights, and moving bodies in the underground venue. 1968–69. Installation
as well as its rational calculations. The title Shelf Life alludes to the Gulliver created the nearly 1,500 slides from film footage of everyday view, Japanese Expanded
From left: Adam Linder.
finite physical resources expended by the dancer’s body and how Shelf Life. 2019. © 2020 actions and magazine imagery, imbuing one of the period’s most
Cinema: Revisited, Tokyo
Photographic Art Museum,
the virtuosity and ephemerality of performance is defined within Adam Linder; Shahryar spectacular multiple projection works with a do-it-yourself attitude. 2017. Courtesy the artist
the context of a museum. Nashat. Force Life. 2020. and Tokyo Photographic
© 2020 Shahryar Nashat.
Photos: Will Davidson
Gulliver had staged performances since he was a teenager in the Art Museum
Nashat’s Force Life consists of four works: a video titled Blood (what Kansai region, before hitchhiking to Tokyo in 1967 with the intent
is authority); a horizontal sculpture titled Barre (are you nervous to pursue filmmaking. There, Gulliver joined a vibrant scene in
in this system); and two marble sculptures titled Brain (you no longer which art was staged outside of gallery spaces and cinema was
have to simulate) and Brain (do you feel nervous in this system). expanded to multiple projections or moved off-screen entirely.
These works consider the ways in which art is experienced—how This dynamic interdisciplinary mix unfolded against the backdrop
an artwork is seen by the eyes, felt through the body, and perceived of a booming postwar youth culture that tapped into global
by the mind. An immersive light installation, which changes psychedelia and ignited critical debates about technology, politics,
throughout the day in relation to the natural shift in light outside, and Japanese-US relations.
unites the disparate works on view into a multisensory environment
that functions as a cohesive whole. Originally made for the Intermedia Arts Festival of 1969, this
presentation of Cinematic Illumination premieres the recent
restoration and acquisition of the work by MoMA’s Department
of Media and Performance. The first presentation of a historical
The Marie-Josée and Henry Kravis Studio is our space for
moving image installation in the Kravis Studio, it brings the 1960s
live events dedicated to performance, music, sound, spoken
to life on a large scale, interweaving the international history of
word, and expanded approaches to the moving image.
avant-garde art, experimental approaches to film, and the meeting
of art and technology in nightlife spaces.
Kravis Studio 29The People’s Studio:
Collective Imagination
Beyond the Uniform Dorothea Lange Poetry Program Floor 2
Listen to this audio tour featuring Inspired by Dorothea Lange: Words
artists and experts from MoMA’s & Pictures, poets Tess Taylor, Brynn Free with museum
Department of Security who share Saito, and Marcelo Hernandez admission
personal stories about works on Castillo read selections from
view. Daily their work that speak to issues of Open daily during
migrancy, followed by a discussion Museum hours
A Day Led by Security Officers about their book project for the
Join security officers and artist exhibition. Sat, Mar 21, 2:00 p.m. Programs and
Chemi Rosado-Seijo for a day of art- activities are
making, conversation, and music in Music Video Night with Hidji designed for
the People’s Studio and galleries. Join us for an evening of screenings adults and teens.
Sat, Mar 7, 10:30 a.m.–5:30 p.m. and conversation with director Hidji
and Gregg Kaysen of Mass Appeal. Photo: Noah Kalina
Book Making Music Video Night is a series in which
Learn techniques for creating your inspiring leaders in the music video
own handmade book. Add to it industry share insights into their
through drop-in writing and collage working processes and career paths.
activities. Daily, beginning Apr 1 A reception follows. Thu, Apr 2,
9:30 p.m.
Wendy’s Subway Reading Room
Consult a resource library, created Arpillera Workshop with
by Wendy’s Subway, that represents Sarah Zapata
diverse perspectives on the theme Artist and writer Sarah Zapata
of collective imagination. Daily invites visitors to explore the power
of arpilleras—detailed, hand-sewn,
Listening Sessions with three-dimensional textile pictures,
Gelsey Bell made collectively by women from
Join composer, vocalist, and the shantytowns of Lima, Peru—
scholar Gelsey Bell for a guided and explore basic embroidery and
listening experience of modern and latch hook techniques to create a
contemporary music. Each session collective textile of their own.
highlights a particular section of Thu, Apr 9 & 16, 1:00 & 3:30 p.m.;
the Museum’s Fluxus audio archive Sat, May 2, 1:00 & 3:30 p.m.
and the Steven Lieber collection.
Thursdays, Mar 5 & Apr 30,
2:00 p.m.
The People’s Studio: Collective Imagination, located in the
Paula and James Crown Creativity Lab, is a participatory
program focusing on the human relationships that shape
works of art. Visitors can experiment with artists’ strategies,
and join conversations and workshops about the networks,
cultures, and environments that sustain artistic practice.
To learn more, visit moma.org/creativitylab.
Crown Creativity LabFirst Thursdays Let’s Talk Art Below: Live Transmission
Drawing with Morgan O’Hara,
Specific Objects, Access Programs
Join us on the first Thursday of A series of daily conversations June 13, 2019. Photo: Beatriz A Judd Symposium We offer a variety of programs and
each month for evening hours: about art on view in the galleries, Meseuger services to ensure the Museum is
This half-day symposium will consist
unwind in the galleries, dine, join led by MoMA educators, artists, accessible to everyone. Wheelchairs,
of close readings of specific works
a conversation, and more. Don’t and other special guests. portable stools, and FM assistive
on view in the exhibition in order
miss artist talks with Haegue Yang A selection is provided here; for listening devices (headsets and neck
to discuss Donald Judd’s legacy
(March), Neri Oxman (April), and complete listings visit moma.org. loops) for sound amplification
and relevance today. Fri, Mar 13,
Faith Ringgold (May). For details, are available for all Access Programs.
Let’s Talk Art programs are free for 1:00–5:30 p.m.
visit moma.org/firstthursdays. members and Museum admission ticket Access Programs are free of charge. Space is
Thursdays, Mar 5, Apr 2 & May 7, holders. No registration is required. Free for members. Registration is required.
limited, and preregistration is required. For more
open until 9:00 p.m. information or to register, call (212) 408-6447
Free for members and with Museum
Thirty-Minute Orientation Tour hablArte or email accessprograms@moma.org.
admission. Admission to talks is free, Fridays, Saturdays & Sundays, Pásate una hora explorando la
11:00 a.m. Art inSight
but tickets are required; members may colección reinstalada de MoMA a
reserve tickets in advance. Tuesdays, Mar 3, Apr 7 & May 5,
través de una conversación con
How to Look at Lithographs, 2:00–4:00 p.m.
educadores. hablArte is a series of
with Curator Esther Adler and conversations about art in Spanish, For blind and low-vision visitors
Never Stop Drawing Conservator Laura Neufeld led by MoMA educators, staff,
Thu, Mar 19, 3:00 p.m. and other special guests. All are
This series of programs invites Create Ability
welcome, from native speakers to Sundays, Mar 15, Apr 19 & May 17,
visitors to rediscover the daily act of Artist Wendy Red Star on new learners seeking opportunities
drawing, a common practice among 11:00 a.m.–1:00 p.m. (ages 5–17)
Dorothea Lange: Words & Pictures for conversation. hablArte occurs
artists, designers, scientists, and and 2:00–4:00 p.m. (ages 18+)
Wed, Apr 1, 3:00 p.m. every first Friday at 6:00 p.m. and
researchers of all ages. A selection
first Saturday at 3:00 p.m. For For individuals with intellectual and
is provided here; for complete Artist Sam Contis on Dorothea listings and topics visit moma.org.
developmental disabilities and their families
listings visit moma.org. Lange: Words & Pictures
Fri, Apr 3, 3:00 p.m. hablArte programs are free for members Meet Me at MoMA
Never Stop Drawing programs are free
for members and Museum admission ticket
and Museum admission ticket holders. No Tuesdays, Mar 24, Apr 14 & May 12,
registration is required.
holders. No registration is required. Queer Perspectives Tour 2:30–4:00 p.m.
Thursdays, Mar 5, Apr 2 &
Drop-in Drawing For individuals with dementia and their family
May 7, 5:30 p.m. members or caregivers
Fridays and First Thursdays,
6:00–8:00 p.m.
Interpreting MoMA
Materials are provided. All ages are welcome. Thu, Apr 23 & Thu, May 21, 5:30 p.m.
For deaf adults
In Process
A monthly series in which artists
lead visitors through exhibitions
using direct experimentation with
their preferred materials, techniques,
and ideas. Fri, Mar 20, Sat, Mar 21,
Fri, Apr 17 & Sat, Apr 18, 3:00 p.m.
In Process programs are free with gallery
admission. Capacity is limited and registration is
available 30 minutes before the program begins.
ProgramsYou can also read
