A colorful, symmetrical composition centers on a large face with wide, watchful eyes, surrounded by intricate patterns, vivid shapes, and smaller angelic figures. A crown-like form rises above the face, while layered designs in green, yellow, blue, red, and gold fill nearly every part of the image, creating a dense, dreamlike scene.

The Lost World: The Art of Minnie Evans
Now open
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Free at the Whitney

Every Friday evening from 5–10 pm and on the second Sunday of every month, admission to the Museum is free. Both offerings include free access to exhibitions, special programming, city views, and more. Visitors 25 and under are always free, every day. 

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Rows of vintage radios and boomboxes displayed on white platforms in a glass-walled gallery.

The Whitney Biennial 

The Whitney Biennial is the longest-running survey of American art, and has been a hallmark of the Museum since 1932. The current format—a survey show of work in all media occurring every two years—has been in place since 1973. 

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Child drawing on paper titled "Seven Soothing Sketches" with colorful markers and a pill organizer on a table.

Family Programs

Whitney family programs offer artmaking workshops, special events and tours, in-gallery activity guides, and at-home artmaking challenges. Join us for upcoming family events or Free Second Sundays.

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A large stainless steel structure—the outline of a pier—hovers over the Hudson River at dusk.

Video

Watch our latest video series to dive deeper into art at the Whitney.

A view of the Museum with people and traffic in the foreground.

Podcasts

Listen to Artists Among Us, featuring long-form and short-form podcasts exploring artworks and events in and around the Whitney through conversation.

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artport

Check out art that's created specifically for the web on artport—the Whitney's gallery space for Internet and new-media art.

Dive Into Our Collection

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  • Large abstract painting with layered horizontal color bands including pink cloud, green hills, and deep blue foreground.
    Large abstract painting with layered horizontal color bands including pink cloud, green hills, and deep blue foreground.

    Helen Frankenthaler, Flood, 1967. Acrylic on canvas, overall: 124 1/4 × 140 1/2 in. (315.6 × 356.9 cm). Whitney Museum of American Art, New York; purchase, with funds from the Friends of the Whitney Museum of American Art 68.12. © Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York

  • Abstract figure with colorful hair and various objects attached. Text reads "SHE'S HiT" at the top.
    Abstract figure with colorful hair and various objects attached. Text reads "SHE'S HiT" at the top.

    Jim Nutt, She's Hit, 1967. Acrylic on plexiglass, with wood frame, overall: 36 × 24 in. (91.4 × 61 cm). Whitney Museum of American Art, New York; purchase, with funds from the Larry Aldrich Foundation Fund 69.101

  • A geometric industrial building with two large silos, a tall smokestack, and crisscrossing power lines.
    A geometric industrial building with two large silos, a tall smokestack, and crisscrossing power lines.

    Charles Demuth, My Egypt, 1927. Oil, fabricated chalk, and graphite pencil on composition board, overall: 35 15/16 × 30 in. (91.3 × 76.2 cm). Whitney Museum of American Art, New York; purchase, with funds from Gertrude Vanderbilt Whitney 31.172

  • Two abstract figures stand side by side, one holding a small object, both with neutral expressions.
    Two abstract figures stand side by side, one holding a small object, both with neutral expressions.

    Arshile Gorky, The Artist and His Mother, 1926–c. 1936. Oil on canvas, overall: 60 × 50 1/4 in. (152.4 × 127.6 cm). Whitney Museum of American Art, New York; gift of Julien Levy for Maro and Natasha Gorky in memory of their father 50.17. © The Arshile Gorky Foundation / Artists Rights Society (ARS), New York

  • Woman with hair rollers looks over her shoulder while small paper curls are stuck to her face.
    Woman with hair rollers looks over her shoulder while small paper curls are stuck to her face.

    Hannah Wilke, S.O.S. Starification Object Series (Curlers), 1974. Gelatin silver print, sheet: 40 × 27 in. (101.6 × 68.6 cm) Image: 40 × 27 in. (101.6 × 68.6 cm) Mount (board): 40 × 27 × 1/16 in. (101.6 × 68.6 × 0.2 cm). Whitney Museum of American Art, New York; purchase, with funds from the Photography Committee and partial gift of Marsie, Emanuelle, Damon and Andrew Scharlatt 2005.33. © Marsie, Emanuelle, Damon and Andrew Scharlatt / Licensed by VAGA at Artists Rights Society (ARS), New York

  • A grayish-white crater of hard, rough material drawn to a center point
    A grayish-white crater of hard, rough material drawn to a center point

    Jay DeFeo, The Rose, 1958–1966. Oil with embedded fabric, string, and wood on canvas, overall: 128 7/8 × 92 1/4 × 11 in. (327.3 × 234.3 × 27.9 cm). Whitney Museum of American Art, New York; gift of The Jay DeFeo Foundation and purchase, with funds from the Contemporary Painting and Sculpture Committee and the Judith Rothschild Foundation 95.170. © The Jay DeFeo Foundation/Artists Rights Society (ARS), New York

On the Hour

A 30-second online art project:
Frank WANG Yefeng, The Levitating Perils #2

Learn more about this project

Learn more at whitney.org/artport

On the Hour projects can contain motion and sound. To respect your accessibility settings autoplay is disabled.