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Works available online

This selection reflects the wide range of mediums and movements in the Whitney’s collection, which comprises over 21,000 works. Works are being added to the online selection on an ongoing basis.

About the collection

The Whitney’s collection—comprising more than 21,000 paintings, sculptures, drawings, prints, photographs, films, videos, and new media by more than 3,000 artists—contains some of the most significant and exciting work created by artists in the United States during the twentieth and twenty-first centuries.

The Museum’s rich holdings of realist and modernist work, Precisionism, Abstract Expressionism, Pop art, and Minimalism are particular strengths of the collection. In addition, the Museum has collected work by individuals who have shaped recent artistic practice but defy easy categorization by movement or medium. Gertrude Vanderbilt Whitney, the founder of the Museum, focused her collecting efforts on living artists, and this emphasis has been a guiding principle of the collection for the past eight decades. An appreciation of the areas of inquiry, working methods, and material exploration of today’s living artists guides our current acquisitions.

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George Luks<br /><i>Armistice Night</i>, 1918<br /><span class='accession-number'>54.58</span>
Lucas Samaras<br /><i>Chair Transformation Number 10A</i>, 1969–70<br /><span class='accession-number'>70.1572 </span>
Audio
Pat Steir<br /><i>July Waterfall</i>, 1991<br /><span class='accession-number'>P.92.3</span>
Dan Flavin<br /><i>Untitled</i>, 1964<br /><span class='accession-number'>71.214</span>
Zarina Hashmi<br /><i>Cage</i>, 1970<br /><span class='accession-number'>2011.9</span>
Weegee (Arthur Fellig)<br /><i>This man covered up with newspapers was killed in an auto accident. The driver of the car was arrested, but he put up such a terrific battle. . . cops had to put handcuffs on him.</i>, 1942<br /><span class='accession-number'>96.90.17</span>
Amy Sillman<br /><i>Hamlet</i>, 2001–02<br /><span class='accession-number'>2003.306</span>
Frederick Kiesler<br /><i>Model for the Endless House</i>, 1959<br /><span class='accession-number'>89.8</span>
Hannah Wilke<br /><i>S.O.S. Starification Object Series (Curlers)</i>, 1974<br /><span class='accession-number'>2005.33</span>
Charles LeDray<br /><i>Untitled/Clothesline</i>, 1992<br /><span class='accession-number'>95.141</span>
Robyn O’Neil<br /><i>The Ruin</i>, 2007<br /><span class='accession-number'>2007.108</span>
Nam June Paik<br /><i>V-yramid</i>, 1982<br /><span class='accession-number'>82.11</span>
Elizabeth Catlett<br /><i>My right is a future of equality with other Americans</i>, 1947 (printed 1989)<br /><span class='accession-number'>95.203</span>
Earl Horter<br /><i>The Chrysler Building Under Construction</i>, 1931<br /><span class='accession-number'>78.17</span>
Amy Granat and Drew Heitzler<br /><i>T.S.O.Y.W.</i>, 2007<br /><span class='accession-number'>2008.18</span>
Audio
Ryan McGinley<br /><i>Elevator</i>, 1999<br /><span class='accession-number'>2003.311</span>
Robert Motherwell<br /><i>The Red Skirt</i>, 1947<br /><span class='accession-number'>49.3</span>
Edward Hopper<br /><i>American Landscape</i>, 1920<br /><span class='accession-number'>31.690</span>
Mike Kelley<br /><i>More Love Hours Than Can Ever Be Repaid and The Wages of Sin</i>, 1987<br /><span class='accession-number'>89.13a-e</span>
Audio
Uta Barth<br /><i>Ground #42</i>, 1994<br /><span class='accession-number'>95.162</span>
Fritz Glarner<br /><i>Relational Painting</i>, 1949–51<br /><span class='accession-number'>52.3</span>
Sue de Beer<br /><i>Hans und Grete</i>, 2002<br /><span class='accession-number'>2004.47</span>
Peter Blume<br /><i>Light of the World</i>, 1932<br /><span class='accession-number'>33.5</span>
Edward Ruscha<br /><i>Two Sheets Stained With Blood</i>, 1973<br /><span class='accession-number'>2005.50</span>
Tina Barney<br /><i>The Landscape</i>, 1988<br /><span class='accession-number'>93.11</span>
Luis Gispert<br /><i>Untitled (Three Asian Cheerleaders)</i>, 2001<br /><span class='accession-number'>2002.141</span>
John Marin<br /><i>Wave on Rock</i>, 1937<br /><span class='accession-number'>81.18</span>
Sarah Sze<br /><i>Strange Attractor</i>, 2000<br /><span class='accession-number'>2001.1</span>
Stephen Vitiello<br /><i>World Trade Center Recordings: Winds After Hurricane Floyd</i>, 1999 and 2002<br /><span class='accession-number'>2003.89</span>
R. H. Quaytman<br /><i>Distracting Distance, Chapter 16</i>, 2010<br /><span class='accession-number'>2010.55</span>
Robert Mangold<br /><i>1/2 Manila Curved Area</i>, 1967<br /><span class='accession-number'>68.14a-d</span>
Agnes Denes<br /><i>Human Hang-Up Machine</i>, 1969<br /><span class='accession-number'>2001.165</span>
Samuel Durant<br /><i>Legality is not Morality</i>, 2003<br /><span class='accession-number'>2004.635</span>
Steven Parrino<br /><i>Untitled</i>, 1991<br /><span class='accession-number'>2008.174</span>
Pierre Huyghe<br /><i>A Journey That Wasn’t</i>, 2005<br /><span class='accession-number'>2006.349</span>
Fairfield Porter<br /><i>The Screen Porch</i>, 1964<br /><span class='accession-number'>77.1.41</span>
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