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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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Guy Pène Du Bois<br /><i>Opera Box</i>, 1926<br /><span class='accession-number'>31.184</span>
Hedda Sterne<br /><i>New York, N.Y., 1955</i>, 1955<br /><span class='accession-number'>56.20</span>
Louis Guglielmi<br /><i>Terror in Brooklyn</i>, 1941<br /><span class='accession-number'>42.5</span>
Weegee (Arthur Fellig)<br /><i>The Critic</i>, 1943<br /><span class='accession-number'>96.90.2</span>
Vera Lutter<br /><i>Pepsi-Cola, Long Island City, IV: May 19, 1998</i>, 1998<br /><span class='accession-number'>2000.219</span>
Andy Warhol<br /><i>Electric Chair</i>, 1971<br /><span class='accession-number'>73.92.2</span>
Richard Misrach<br /><i>Bomb Crater and Destroyed Convoy, Bravo 20 Bombing Range, Nevada</i>, 1986<br /><span class='accession-number'>93.72</span>
Deborah Butterfield<br /><i>Resting Horse</i>, 1977<br /><span class='accession-number'>78.63</span>
Philip Evergood<br /><i>Lily and the Sparrows</i>, 1939<br /><span class='accession-number'>41.42</span>
Jack Pierson<br /><i>Desire, Despair</i>, 1996<br /><span class='accession-number'>97.102.2a-l</span>
Grant Wood<br /><i>Dinner for Threshers (right section)</i>, 1933<br /><span class='accession-number'>33.80</span>
Margaret Bourke-White<br /><i>Dam at Fort Peck, Montana</i>, 1936<br /><span class='accession-number'>92.55</span>
Yasuo Kuniyoshi<br /><i>Child</i>, 1923<br /><span class='accession-number'>55.1</span>
Chris Ware<br /><i>Jimmy Corrigan: <span class="caps"><span class="caps"><span class="caps">ACME</span></span></span> 14: Amy shuts door on Jimmy</i>, 1999<br /><span class='accession-number'>2003.84</span>
Jasper Johns<br /><i>0 through 9</i>, 1961<br /><span class='accession-number'>2002.222</span>
William Wegman<br /><i>Frog Pond</i>, 1982<br /><span class='accession-number'>91.113</span>
Lisette Model<br /><i>Sammy’s, New York</i>, 1940–44<br /><span class='accession-number'>97.98.12</span>
Martha Rosler<br /><i>The Bowery in two inadequate descriptive systems</i>, 1974–75<br /><span class='accession-number'>93.4a-x</span>
Audio
Grace Hartigan<br /><i>Grand Street Brides</i>, 1954<br /><span class='accession-number'>55.27</span>
Lynda Benglis<br /><i>Contraband</i>, 1969<br /><span class='accession-number'>2008.14</span>
Video
June Leaf<br /><i>The Head</i>, 1979<br /><span class='accession-number'>98.27</span>
Weegee (Arthur Fellig)<br /><i>I Cried When I Took This Picture</i>, 1939<br /><span class='accession-number'>96.90.5</span>
Liza Lou<br /><i>Kitchen</i>, 1990–95<br /><span class='accession-number'>2008.339a-x</span>
Helen Frankenthaler<br /><i>Flood</i>, 1967<br /><span class='accession-number'>68.12</span>
Frederick Sommer<br /><i>Horse</i>, 1945<br /><span class='accession-number'>99.5.1</span>
Alvin Loving<br /><i>Rational Irrationalism</i>, 1969<br /><span class='accession-number'>69.74a-b</span>
Nancy Grossman<br /><i>Head 1968</i>, 1968<br /><span class='accession-number'>68.81a-b</span>
Diana Thater<br /><i>Six-Color Video Wall</i>, 2000<br /><span class='accession-number'>2000.193</span>
Edward Ruscha<br /><i>Texaco, Vega, Texas</i>, 1962<br /><span class='accession-number'>2004.476</span> <img src="/ui/on-view-pin.gif" width="10" height="10" alt="On view in the museum" align="absmiddle" title="" />
On view
Glen Seator<br /><i>B.D.O.</i>, 1997<br /><span class='accession-number'>97.54</span>
Paul Thek<br /><i>Untitled</i>, 1966<br /><span class='accession-number'>93.14</span>
Audio Video
Catherine Murphy<br /><i>View From the Backyard; Lexington</i>, 1972–73<br /><span class='accession-number'>73.27</span>
Dan Flavin<br /><i>Untitled</i>, 1964<br /><span class='accession-number'>71.214</span>
Georgia O’Keeffe<br /><i>No. 8—Special (Drawing No. 8)</i>, 1916<br /><span class='accession-number'>85.52</span>
Audio
Adam McEwen<br /><i>Untitled (Macaulay)</i>, 2004<br /><span class='accession-number'>2006.94.3</span>
Shahzia Sikander<br /><i>Reinventing the Dislocation</i>, 1997<br /><span class='accession-number'>97.83.4</span>
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