{"data":[{"id":"2326","type":"exhibition","attributes":{"id":2326,"title":"The Lost World: The Art of Minnie Evans","start_time":"2026-08-22T00:00:00.000-04:00","end_time":"2027-01-10T00:00:00.000-05:00","member_start_time":"2026-08-19T00:00:00.000-04:00","member_end_time":"2026-08-21T00:00:00.000-04:00","date_override":"","url":"/exhibitions/the-lost-world","primary_text":"\u003cp class=\"large\"\u003eInspired by vivid dreams and visions, \u003ca href=\"/artists/406\"\u003eMinnie Evans\u003c/a\u003e (1892–1987) made her first drawing in 1935 after the death of her beloved grandmother. During the subsequent decades, the artist created hundreds of radiant pencil and crayon drawings, oil paintings, and collages that combined imagery from her Afro-Caribbean heritage, mythology, religion, popular culture, decorative arts, and the natural environment of her native Wilmington, North Carolina. Her dense, kaleidoscopic compositions include images of angels, mythical creatures, watchful faces, and intricate patterns that suggest harmony and transcendence amid hints of an unsettling disquiet. At once evocative and mysterious, these works imagine a protective, spiritual province that existed before the great flood in the Bible—what the artist referred to as the \"lost world.\"\u003c/p\u003e\u003cp class=\"large\"\u003eBy the 1960s, Evans's work had begun to garner national recognition. After small gallery exhibitions in Wilmington and New York, she was profiled in \u003cem\u003eNewsweek\u003c/em\u003e in 1969. Group exhibitions at museums followed shortly thereafter, leading to a one-person exhibition at the Whitney in 1975. More than five decades later, this retrospective offers an opportunity to experience the visionary merging of the everyday and the divine that runs through Evans's work.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eThe Lost World: The Art of Minnie Evans\u003c/em\u003e is organized by the High Museum of Art, Atlanta, and curated by Katherine Jentleson, the High Museum’s Senior Curator of American Art and Merrie and Dan Boone Curator of Folk and Self-Taught Art. The presentation at the Whitney Museum of American Art is organized by Barbara Haskell, Curator, with Caroline Webb, Curatorial Assistant.\u003c/p\u003e\u003cp\u003eMajor support for \u003cem\u003eThe Lost World: The Art of Minnie Evans\u003c/em\u003e is provided by the Barbara Haskell American Fellows Legacy Fund and the Kapadia Equity Fund.\u003c/p\u003e","primary_media_id":65303,"override_media_id":null,"sign_media_id":null,"feature_id":114,"artwork_series_id":null,"installation_series_id":2666,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.9940476190476191,"created_at":"2025-12-31T00:25:48.360-05:00","updated_at":"2026-09-01T14:25:59.155-04:00","block_editor":{"data":{"id":"6030","type":"block_editor","attributes":{"id":6030,"exhibition_id":2326,"page_id":null,"created_at":"2026-03-10T13:29:49.541-04:00","updated_at":"2026-03-10T13:29:49.541-04:00","regions":[]}}}}},{"id":"2434","type":"exhibition","attributes":{"id":2434,"title":"Roy Lichtenstein: Like New","start_time":"2026-10-11T00:00:00.000-04:00","end_time":"2027-05-10T00:00:00.000-04:00","member_start_time":"2026-10-08T00:00:00.000-04:00","member_end_time":"2026-10-10T00:00:00.000-04:00","date_override":"Opens Oct 11","url":"/exhibitions/lichtenstein","primary_text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eMember Previews: Oct 8–10, 2026\u003cbr\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/779\"\u003eRoy Lichtenstein\u003c/a\u003e changed the way we see images. One of the defining artists of the Pop art movement, he turned the visual language of mass culture, comics, advertising, consumer goods, and commercial printing into some of the most recognizable images of the twentieth century. His work looked cool, crisp, and machine-made, but was meticulously handmade, revealing an artist fascinated by how images are built, copied, enlarged, circulated, and made new.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eRoy Lichtenstein: Like New\u003c/em\u003e offers a bold reconsideration of Lichtenstein for the present. Bringing together roughly 130 works made from the early 1940s through the 1990s, the exhibition traces how his early interest in perception and visual recognition shaped a career-long investigation into duplication, simulation, and image culture. Across painting, drawing, collage, prints, sculpture, and film, Lichtenstein treated images as unstable forms that could be borrowed, translated, reframed, and transformed.\u003c/p\u003e\u003cp class=\"large\"\u003eThe exhibition features many of Lichtenstein’s most celebrated works, including \u003cem\u003eLook Mickey\u003c/em\u003e (1961), \u003cem\u003eGirl with Ball\u003c/em\u003e (1961), \u003cem\u003eMasterpiece\u003c/em\u003e (1962), \u003cem\u003eDrowning Girl\u003c/em\u003e (1963),\u003cem\u003e\u0026nbsp;Happy Tears\u003c/em\u003e (1964), \u003ca href=\"/collection/works/2924\"\u003e\u003cem\u003eLittle Big Painting\u003c/em\u003e\u003c/a\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003e(1965), \u003cem\u003eRouen Cathedral, Set III\u003c/em\u003e (1968-69), and \u003cem\u003eArtist’s Studio “The Dance”\u003c/em\u003e (1974). It also includes a recreation of three murals, including a nearly 96-foot long iteration of \u003cem\u003eGreene Street Mural\u003c/em\u003e (1983). \u003cem\u003eRoy Lichtenstein: Like New\u003c/em\u003e also reunites, for the first time, all the works from Lichtenstein’s first exhibition of Pop-style work at Leo Castelli Gallery in 1962. This pivotal moment for the artist would come to define an era with its impact extending far beyond Pop, shaping generations of artists, including \u003ca href=\"/artists/4043\"\u003eLouise Lawler\u003c/a\u003e, \u003ca href=\"/artists/10291\"\u003eRichard Pettibone\u003c/a\u003e, and \u003ca href=\"/artists/10205\"\u003eSturtevant\u003c/a\u003e whose work will also be on view in this exhibition and further illuminate Lichtenstein’s relationship to copying, influence, appropriation, and the afterlife of images.\u003c/p\u003e\u003cp class=\"large\"\u003eIn an era when pictures are endlessly cropped, filtered, reposted, and recirculated, Lichtenstein’s work feels newly urgent. \u003cem\u003eLike New\u003c/em\u003e looks beyond the artist’s iconic surfaces to reveal the power and instability of images and celebrate an artist who understood, long before the digital age, that images change as they move through the world.\u003c/p\u003e\u003cp\u003e\u003cem\u003eRoy Lichtenstein: Like New\u003c/em\u003e is organized by Meg Onli, Nancy and Fred Poses Curator, and Alex Da Corte, Guest Curator, with Nakai Falcón, Curatorial Assistant, and David Crane, Curatorial Research Associate.\u003c/p\u003e\u003cp\u003eLeadership support for \u003cem\u003eRoy Lichtenstein: Like New\u0026nbsp;\u003c/em\u003eis provided by the Jerome L. Greene Foundation, Kenneth C. Griffin and Griffin Catalyst, and Susan and John Hess.\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/829205/gf02_H_logotype_purple_final.jpg\" style=\" height: 26px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u003c/em\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/833808/GriffinCatalyst_Logo_FullColor.jpg\" style=\" height: 40px;\"\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSusan and John Hess\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eMajor corporate support is provided by\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824394/Pamella_Roland_Logo__NEW__0.jpg\" style=\" height: 35px;\"\u003e\u003c/em\u003e\u003c/p\u003e\u003cp data-pm-slice=\"1 1 []\"\u003ePrincipal support is provided by Stephanie March and Dan Benton; Pete and Michelle Scantland; and Caroline and Robert Taubman, on behalf of the A. Alfred Taubman Foundation. \u0026nbsp;\u003c/p\u003e\u003cp\u003eAdditional corporate support is provided by\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/833809/DY_LOGO_TRACKING_EXPLORE_FINAL_3_15__PNG.png\" style=\" height: 18px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u003c/em\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824938/Delta_c_r__2_.jpg\" style=\" height: 20px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u003c/em\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/833811/_NEW_Gap_Logo_2026.jpg\" style=\" height: 26px;\"\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/833810/GAGOSIAN_logotype_black_web.jpg\" style=\" height: 33px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003eMajor support is provided by Judy Hart Angelo; Barbara Haskell American Fellows Legacy Fund; Jill and Darius Bikoff; Neil G. Bluhm and Kimberly Paige Bluhm; Jenny Brorsen and Rich DeMartini; Nancy Carrington Crown \u0026amp; A. Steven Crown; Lise and Michael Evans; Meg and Bennett Goodman; CJ Jones \u0026amp; Philip Rebeiz, Colour Themes; The KHR McNeely Family Foundation | Kevin, Rosemary, and Hannah Rose McNeely; Sara and Kip Kirkpatrick; Michael A. Klump; Northern Trust; Nancy and Fred Poses; Anne-Cecilie Engell Speyer and Rob Speyer; and the Whitney’s National Committee.\u003c/p\u003e\u003cp\u003eSignificant support is provided by The Fuhrman Family Foundation, Jackson Tang, and an anonymous donor. \u0026nbsp;\u003c/p\u003e\u003cp\u003eGenerous support is provided by the AG Foundation, Salvador Espinoza and Jonathan Rozoff, the Keith Haring Exhibition Fund, Thomas \u0026amp; Linda Koehn Foundation, Susan and Larry Marx, Robert E. Meyerhoff and Rheda Becker, Susanne and William E. Pritchard III, Katherine Sachs, and an anonymous donor.\u003c/p\u003e\u003cp\u003eAdditional support is provided by Dawn and David Lenhardt.\u003c/p\u003e\u003cp\u003eThis exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.\u003c/p\u003e\u003cp\u003eLeadership support for the catalogue and education and public programs is provided by the Roy Lichtenstein Foundation.\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/833857/RLF_REFERENCE-crop.jpg\" style=\"width:574px; max-width: 100%;\"\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eBBDO is the official marketing agency partner for \u003cem\u003eRoy Lichtenstein: Like New.\u003c/em\u003e\u003c/em\u003e\u003c/p\u003e","primary_media_id":65075,"override_media_id":null,"sign_media_id":65075,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.9970238095238095,"created_at":"2026-06-22T15:21:46.105-04:00","updated_at":"2026-08-26T16:57:21.280-04:00","block_editor":{"data":{"id":"6083","type":"block_editor","attributes":{"id":6083,"exhibition_id":2434,"page_id":null,"created_at":"2026-06-22T15:21:46.199-04:00","updated_at":"2026-06-22T15:21:46.199-04:00","regions":[]}}}}},{"id":"1069","type":"exhibition","attributes":{"id":1069,"title":"Edges of Ailey","start_time":"2024-09-25T00:00:00.000-04:00","end_time":"2025-02-09T00:00:00.000-05:00","member_start_time":"2024-09-19T00:00:00.000-04:00","member_end_time":"2024-09-23T00:00:00.000-04:00","date_override":"","url":"/exhibitions/edges-of-ailey","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eEdges of Ailey\u003c/em\u003e is the first large-scale museum exhibition to celebrate the life, dances, influences, and enduring legacy of visionary artist and choreographer \u003ca href=\"/artists/t6396\"\u003eAlvin Ailey\u003c/a\u003e (b. 1931, Rogers, Texas; d. 1989, New York, New York). This dynamic showcase—described as an “extravaganza” by curator Adrienne Edwards—brings together visual art, live performance, music, a range of archival materials, and a multi-screen video installation drawn from recordings of Alvin Ailey American Dance Theater (AAADT) repertory to explore the full range of Ailey’s personal and creative life. \u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003ePresented at the Museum in two parts, \u003cem\u003eEdges of Ailey\u003c/em\u003e consists of an immersive exhibition in the Museum’s 18,000 square-foot fifth-floor galleries—featuring works by more than eighty artists and revelatory archival material—and an ambitious suite of performances in the Museum’s third-floor theater, including AILEY in residence for one week each month during the exhibition.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eSweeping holdings of rarely seen archives, including performance footage, recorded interviews, notebooks, letters, poems, short stories, choreographic notes, drawings, and performance programs and posters gathered from Ailey’s archives and others forge a vital throughline in the gallery. Selections from the Alvin Ailey Archival Papers—courtesy of the Allan Gray Family Foundation and held at the Black Archives of Mid America in Kansas City, Missouri—and the Alvin Ailey Dance Foundation Archives Collection held at the Library of Congress are of singular importance, specially digitized and exhibited for this show’s occasion. A dynamic montage of Ailey’s life and dances will play on loop across an 18-channel video installation created by filmmakers Josh Begley and Kya Lou, with curator Adrienne Edwards. \u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eAiley’s presence, felt through the video surround and his encased personal effects, envelops a scenic installation of artworks by over eighty artists. These works are arranged by themes that shaped Ailey’s life and dances. Sections span an expanded Black southern imaginary that enfolds histories of the American South with those of the Caribbean, Brazil, and West Africa; the enduring practices of Black spirituality; the profound conditions and effects of Black migration; the resilience for and necessity of an intersectional Black liberation; the prominence of Black women in Ailey’s life; and the robust histories and experiments of Black music; along with the myriad representations of Blackness in dance and meditations on dance after Ailey.\u003c/p\u003e\u003cp class=\"large\"\u003eArtists exhibited among Ailey include \u003ca href=\"/artists/69\"\u003eJean-Michel Basquiat\u003c/a\u003e, \u003ca href=\"/artists/80\"\u003eRomare Bearden\u003c/a\u003e, \u003ca href=\"/artists/14995\"\u003eFaith Ringgold\u003c/a\u003e, \u003ca href=\"/artists/1326\"\u003eAlma Thomas\u003c/a\u003e, \u003ca href=\"/artists/759\"\u003eJacob Lawrence\u003c/a\u003e, \u003ca href=\"/artists/8851\"\u003eRashid Johnson\u003c/a\u003e, \u003ca href=\"/artists/15056\"\u003eKevin Beasley\u003c/a\u003e, \u003ca href=\"/artists/4563\"\u003eKara Walker\u003c/a\u003e, and many others. A recent acquisition of Eldren Bailey and new works by Karon Davis, \u003ca href=\"/artists/18966\"\u003eJennifer Packer\u003c/a\u003e, \u003ca href=\"/artists/11868\"\u003eMickalene Thomas\u003c/a\u003e, and Lynette Yiadom-Boakye will be presented for the first time in honor of this landmark exhibition. \u0026nbsp;\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eEdges of Ailey\u003c/em\u003e also offers a rare opportunity for visitors to watch intimate live performances by Alvin Ailey American Dance Theater in the Museum’s third-floor theater. As part of the exhibition's robust live \u003ca href=\"/exhibitions/edges-of-ailey/performances\"\u003eperformance program\u003c/a\u003e, AILEY is in residence at the Whitney for one week each month, for a total of five weeks and over ninety performances. This gives visitors the opportunity to experience the full scope of Ailey's world and legacy, including performances of classic and contemporary works by the two repertory companies—Alvin Ailey American Dance Theater and Ailey II—as well as showcases by students from The Ailey School, workshops and education programs from Ailey Arts In Education, and classes from Ailey Extension. During the weeks AILEY is not in residence at the Museum, a series of dance commissions by leading choreographers and their collaborators, including Ronald K. Brown, Trajal Harrell, Bill T. Jones, Ralph Lemon, with interdisciplinary artist \u003ca href=\"/artists/15056\"\u003eKevin Beasley\u003c/a\u003e, Sarah Michelson, \u003ca href=\"/artists/18870\"\u003eOkwui Okpokwasili\u003c/a\u003e and \u003ca href=\"/artists/18882\"\u003ePeter Born\u003c/a\u003e, Will Rawls, Matthew Rushing, Yusha-Marie Sorzano, and Jawole Willa Jo Zollar will be showcased. \u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eVisitors can also see Alvin Ailey American Dance Theater during the company's \u003ca href=\"https://ailey.org/series/ailey-new-york-city-center\"\u003eannual engagement at New York City Center\u003c/a\u003e from December 4 to January 5.\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003eEdges of Ailey is organized by the Whitney Museum of American Art in collaboration with the Alvin Ailey Dance Foundation. Special acknowledgment to the Allan Gray Family Foundation and the Black Archives of Mid-America in Kansas City for access to archival materials. The exhibition is curated by Adrienne Edwards, Engell Speyer Family Senior Curator and Associate Director of Curatorial Programs, with Joshua Lubin-Levy, Curatorial Research Associate, and CJ Salapare, Curatorial Assistant, with thanks to Katie Fong, Curatorial Assistant, for research support.\u0026nbsp;\u003c/p\u003e\u003cp\u003eReview \u003ca href=\"/exhibitions/edges-of-ailey/accessibility-information\"\u003eaccessibility information\u003c/a\u003e before visiting Edges of Ailey.\u003c/p\u003e\u003cp\u003eThe lead sponsor for \u003cem\u003eEdges of Ailey\u0026nbsp;\u003c/em\u003eis the Jerome L. Greene Foundation.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/829205/gf02_H_logotype_purple_final.jpg\" style=\" height: 30px;\"\u003e\u003c/p\u003e\u003cp\u003eThis exhibition is also sponsored by\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824959/bofa_lo1_rgb_Digital.png\" style=\" height: 25px;\"\u003e \u0026nbsp;\u003cbr\u003e\u003cimg\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824938/Delta_c_r__2_.jpg\" style=\" height: 20px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u003cimg\u003e\u003c/p\u003e\u003cp\u003eLeadership support is provided by the Ford Foundation.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/830693/large_Ford-single-black.jpg\" style=\" height: 20px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u003cimg\u003e\u003c/p\u003e\u003cp\u003eGenerous support is provided by Judy Hart Angelo and the Arnhold Family | Arnhold Foundation.\u003c/p\u003e\u003cp\u003eMajor support is provided by the Barbara Haskell American Fellows Legacy Fund; the Horace W. Goldsmith Foundation; The KHR McNeely Family Fund | Kevin, Rosemary, and Hannah Rose McNeely; Anne-Cecilie Engell Speyer and Rob Speyer; the Whitney’s National Committee; and Clara Wu Tsai.\u003c/p\u003e\u003cp\u003eSignificant support is provided by The Holly Peterson Foundation, The Keith Haring Foundation Exhibition Fund, the National Endowment for the Arts, and Denise Littlefield Sobel.\u003c/p\u003e\u003cp\u003eAdditional support is provided by A4 Arts Charitable Trust, the Adam D. Weinberg Artists First Fund, Candace and Rick Beinecke, Jeanne Donovan Fisher, Kevin Gan and Benjamin Blad, The Harkness Foundation for Dance, Nancy Magoon, Jeanne Greenberg Rohatyn and Nicolas Rohatyn, and an anonymous donor.\u003c/p\u003e\u003cp\u003eCuratorial research and travel for this exhibition were funded by an endowment established by Rosina Lee Yue and Bert A. Lies, Jr., MD.\u003c/p\u003e\u003cp\u003eSupport is also provided by the Marshall Weinberg Fund for Performance, endowed in honor of his parents Anna and Harold Weinberg who taught him the meaning of giving.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/830765/large_2018-LogoBW-Horizontal.jpg\" style=\" height: 70px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u003cimg\u003e\u003c/p\u003e\u003cp\u003eGenerous support for the catalogue is provided by the Mellon Foundation.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/827959/Mellon_Logomark_Lockup_Black_copy.png\" style=\" height: 36px;\"\u003e\u003c/p\u003e\u003cp\u003eFCB New York is the exclusive marketing agency sponsor.\u003cem\u003e\u0026nbsp;New York\u003c/em\u003e magazine is the exclusive media sponsor.\u003c/p\u003e","primary_media_id":60338,"override_media_id":60471,"sign_media_id":59862,"feature_id":98,"artwork_series_id":null,"installation_series_id":2627,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“I love the look of it, the sound of it, the ideas it floats.”—\u003cem\u003e\u003ca href=\"https://www.nytimes.com/2024/09/26/arts/design/whitney-museum-alvin-ailey-show-review.html?partner=calculated\"\u003eThe New York Times\u0026nbsp;\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“One of the most ambitious shows the museum has ever presented…”—\u003cem\u003e\u003ca href=\"https://www.nytimes.com/2024/09/03/arts/dance/alvin-ailey-whitney-museum-nyc.html\"\u003eThe New York Times\u003c/a\u003e \u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“Alvin Ailey has never left the hearts of dancers, and it is that legacy which guides\u0026nbsp;Edges of Ailey.”—\u003cem\u003e\u003ca href=\"https://www.vanityfair.com/style/photos/the-ailey-legacy-takes-center-stage-at-the-whitney-museum\"\u003eVanity Fair\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“As much as ‘Edges of Ailey’ is a celebration of the late, great choreographer, it is also an ode to the world of Black art and to Edwards’s dazzling curatorial vision.”—\u003cem\u003e\u003ca href=\"https://www.thecut.com/article/whitney-museum-alvin-ailey-dr-adrienne-edwards-curator-interview.html\"\u003eThe Cut\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“Edges of Ailey\u0026nbsp;is not just an exhibition; it is a celebration of a living legacy.”—\u003cem\u003e\u003ca href=\"https://www.essence.com/fashion/edges-of-ailey-exhibit-whitney-museum/\"\u003eESSENCE\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“...affirms the artist’s place as one of the most culturally and historically significant artistic figures in the United States and the world.”—\u003cem\u003e\u003ca href=\"https://www.forbes.com/sites/chaddscott/2024/09/01/highlights-of-a-busy-september-2024-arts-calendar-in-new-york-city/\"\u003eForbes\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“...it should not be missed”—\u003cem\u003e\u003ca href=\"https://www.wsj.com/arts-culture/fine-art/edges-of-ailey-review-a-dancers-art-at-the-whitney-a20b928a\"\u003eThe Wall Street Journal\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“...an expansive new survey….”—\u003cem\u003e\u003ca href=\"https://www.harpersbazaar.com/culture/features/a61687835/judith-jamison-and-kyle-abraham-on-the-life-and-legacy-of-alvin-ailey/\"\u003eHarper's Bazaar\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“...not only an homage to Ailey, but a picture of his life and how dance fit into all the other creative pursuits he chased”—\u003cem\u003e\u003ca href=\"https://www.wmagazine.com/culture/alvin-ailey-edges-of-ailey-whitney-museum-2024\"\u003eW Magazine\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“...an essential injection of sheer joy and contemporary cultural history”—\u003cem\u003e\u003ca href=\"https://www.forbes.com/sites/natashagural/2024/10/25/edges-of-ailey-at-the-whitney-museum-an-immersive-blockbuster-exhibition-celebrating-the-enduring-legacy-of-alvin-ailey/\"\u003eForbes\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“It was not at all what I expected, and I am so glad for that.”—\u003cem\u003e\u003ca href=\"https://observer.com/2024/10/art-review-edges-of-ailey-the-whitney/\"\u003eObserver\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“The first of its kind…”—\u003cem\u003e\u003ca href=\"https://hypebeast.com/2024/10/alvin-ailey-revelations-performance-whitney-museum-new-york\"\u003eHYPEBEAST\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“... showcase Ailey’s­ ‘extraordinary curiosity’”—\u003cem\u003e\u003ca href=\"https://www.dancemagazine.com/edges-of-ailey-whitney/#gsc.tab=0\"\u003eDance Magazine\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“...a masterfully curated celebration of one of America’s greatest artists”—\u003cem\u003e\u003ca href=\"https://www.newyorksaid.com/a-dance-through-time-the-legacy-of-alvin-ailey-at-the-whitney-museum/\"\u003eNew York Said\u0026nbsp;\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“Dancer Alvin Ailey Comes Into Full Focus in Stunning, Genre-Blurring Whitney Show”—\u003cem\u003e\u003ca href=\"https://news.artnet.com/art-world/dancer-alvin-ailey-comes-into-full-focus-in-stunning-genre-blurring-whitney-show-2546342?amp=1\"\u003eArtnet News\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“This must-see exhibition at the Whitney Museum of American Art pays excellent tribute to Ailey’s dances”—\u003cem\u003e\u003ca href=\"https://www.ebony.com/inside-whitney-museum-new-exhibition-edges-of-ailey/\"\u003eEbony\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“Ailey receives a show worthy of his greatness…”—\u003cem\u003e\u003ca href=\"https://www.theguardian.com/stage/2024/oct/17/alvin-ailey-new-exhibition-whitney-new-york\"\u003eThe Guardian\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"...a visual stream that flows through Ailey’s history and reflects his restlessness, his desire to stay in motion, to keep going beyond 'Revelations.'\"—\u003ca href=\"https://www.newyorker.com/magazine/2024/10/21/the-house-that-alvin-ailey-built\"\u003e\u003cem\u003eThe New Yorker\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...stunning, groundbreaking, exhibition dedicated to the brilliant, mold-shattering choreographic genius Alvin Ailey…”—\u003cem\u003e\u003ca href=\"https://amsterdamnews.com/news/2024/09/26/the-whitney-museums-edges-of-ailey-presents-the-essence-of-ailey/\"\u003eNew York Amsterdam News\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e","audio_description":"\u003cp\u003eJourney to 1977, when the Alvin Ailey American Dance Theater performed at the opening night of Studio 54.\u0026nbsp;\u003c/p\u003e","videos_description":"","popularity":0.8809523809523809,"created_at":"2023-07-19T14:23:56.363-04:00","updated_at":"2026-08-26T14:34:27.968-04:00","block_editor":{"data":{"id":"3659","type":"block_editor","attributes":{"id":3659,"exhibition_id":1069,"page_id":null,"created_at":"2025-06-16T12:38:17.218-04:00","updated_at":"2025-06-16T12:38:17.218-04:00","regions":[{"data":{"id":"22234","type":"region","attributes":{"id":22234,"position":1,"columns":12,"block_editor_id":3659,"created_at":"2025-02-19T09:52:05.498-05:00","updated_at":"2026-04-01T14:30:57.275-04:00","region_components":[{"data":{"id":"40528","type":"region_component","attributes":{"id":40528,"component_id":32,"component_type":"JumplinkComponent","position":1,"region_id":22234,"created_at":"2025-02-19T09:52:05.507-05:00","updated_at":"2026-04-01T14:30:57.284-04:00","component":{"data":{"id":"32","type":"component","attributes":{"id":32,"exhibition_id":1069,"text":"Performances"}}}}}},{"data":{"id":"40529","type":"region_component","attributes":{"id":40529,"component_id":14763,"component_type":"TextComponent","position":2,"region_id":22234,"created_at":"2025-02-19T09:52:05.525-05:00","updated_at":"2026-04-01T14:30:57.292-04:00","component":{"data":{"id":"14763","type":"component","attributes":{"id":14763,"exhibition_id":1069,"text":"\u003ch2\u003ePerformances\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003cem\u003eEdges of Ailey\u003c/em\u003e includes a \u003ca href=\"/exhibitions/edges-of-ailey/performances\"\u003esuite of performances\u003c/a\u003e in the Museum’s third-floor theater. Alongside the Alvin Ailey American Dance Theater and Ailey II, the performance program will feature an array of artists inspired by and responding to the legacy of Alvin Ailey.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003ePerformance tickets are now on sale. Tickets are limited and must be booked in advance. Performance ticket holders will receive same-day access to the \u003cem\u003eEdges of Ailey\u003c/em\u003e exhibition during regular Museum hours.\u0026nbsp;Visitors can also see Alvin Ailey American Dance Theater during the company's\u0026nbsp;\u003ca href=\"https://ailey.org/series/ailey-new-york-city-center\"\u003eannual engagement at New York City Center\u003c/a\u003e from December 4 to January 5.\u0026nbsp;\u003c/p\u003e"}}}}}},{"data":{"id":"40530","type":"region_component","attributes":{"id":40530,"component_id":243,"component_type":"EventsComponent","position":3,"region_id":22234,"created_at":"2025-02-19T09:52:05.541-05:00","updated_at":"2026-04-01T14:30:57.299-04:00","component":{"data":{"id":"243","type":"component","attributes":{"id":243,"exhibition_id":1069}}}}}}]}}},{"data":{"id":"22235","type":"region","attributes":{"id":22235,"position":2,"columns":12,"block_editor_id":3659,"created_at":"2025-02-19T09:52:05.605-05:00","updated_at":"2026-04-01T14:30:57.307-04:00","region_components":[{"data":{"id":"40531","type":"region_component","attributes":{"id":40531,"component_id":3278,"component_type":"HorizontalRuleComponent","position":1,"region_id":22235,"created_at":"2025-02-19T09:52:05.615-05:00","updated_at":"2026-04-01T14:30:57.315-04:00","component":{"data":{"id":"3278","type":"component","attributes":{"id":3278,"exhibition_id":1069}}}}}}]}}},{"data":{"id":"22236","type":"region","attributes":{"id":22236,"position":3,"columns":6,"block_editor_id":3659,"created_at":"2025-02-19T09:52:05.629-05:00","updated_at":"2026-04-01T14:30:57.323-04:00","region_components":[{"data":{"id":"40532","type":"region_component","attributes":{"id":40532,"component_id":14764,"component_type":"TextComponent","position":1,"region_id":22236,"created_at":"2025-02-19T09:52:05.637-05:00","updated_at":"2026-04-01T14:30:57.330-04:00","component":{"data":{"id":"14764","type":"component","attributes":{"id":14764,"exhibition_id":1069,"text":"\u003ch3\u003e\u003ca href=\"/exhibitions/edges-of-ailey/alvin-ailey-and-me\"\u003e\u003cstrong\u003eAlvin Ailey and Me\u003c/strong\u003e\u003c/a\u003e\u003c/h3\u003e\u003cp class=\"large\"\u003eAlvin Ailey and Me is a project that asks members of the public to share personal stories of how the enduring legacy and influence of iconic dancer, choreographer, and artist Alvin Ailey's life and work has impacted them. These stories celebrate and showcase the lasting, far-reaching impact that this influential artist continues to have: a key theme in \u003cem\u003eEdges of Ailey\u003c/em\u003e.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/edges-of-ailey/alvin-ailey-and-me\" class=\"btn\"\u003eLearn more about Alvin Ailey and Me\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"22237","type":"region","attributes":{"id":22237,"position":4,"columns":6,"block_editor_id":3659,"created_at":"2025-02-19T09:52:05.651-05:00","updated_at":"2026-04-01T14:30:57.342-04:00","region_components":[{"data":{"id":"40533","type":"region_component","attributes":{"id":40533,"component_id":13959,"component_type":"MediaComponent","position":1,"region_id":22237,"created_at":"2025-02-19T09:52:05.659-05:00","updated_at":"2026-04-01T14:30:57.349-04:00","component":{"data":{"id":"13959","type":"component","attributes":{"id":13959,"exhibition_id":1069,"media_id":61037,"url":""}}}}}}]}}},{"data":{"id":"24720","type":"region","attributes":{"id":24720,"position":5,"columns":12,"block_editor_id":3659,"created_at":"2026-08-26T14:34:00.419-04:00","updated_at":"2026-08-26T14:34:00.419-04:00","region_components":[{"data":{"id":"45426","type":"region_component","attributes":{"id":45426,"component_id":3784,"component_type":"HorizontalRuleComponent","position":1,"region_id":24720,"created_at":"2026-08-26T14:34:00.430-04:00","updated_at":"2026-08-26T14:34:00.430-04:00","component":{"data":{"id":"3784","type":"component","attributes":{"id":3784,"exhibition_id":1069}}}}}}]}}},{"data":{"id":"24721","type":"region","attributes":{"id":24721,"position":6,"columns":6,"block_editor_id":3659,"created_at":"2026-08-26T14:34:00.435-04:00","updated_at":"2026-08-26T14:34:00.435-04:00","region_components":[{"data":{"id":"45427","type":"region_component","attributes":{"id":45427,"component_id":16147,"component_type":"MediaComponent","position":1,"region_id":24721,"created_at":"2026-08-26T14:34:00.444-04:00","updated_at":"2026-08-26T14:34:00.444-04:00","component":{"data":{"id":"16147","type":"component","attributes":{"id":16147,"exhibition_id":1069,"media_id":65728,"url":"/www/ailey/arcs/index.html"}}}}}},{"data":{"id":"45429","type":"region_component","attributes":{"id":45429,"component_id":16323,"component_type":"TextComponent","position":2,"region_id":24721,"created_at":"2026-08-26T14:34:27.935-04:00","updated_at":"2026-08-26T14:34:27.935-04:00","component":{"data":{"id":"16323","type":"component","attributes":{"id":16323,"exhibition_id":1069,"text":"\u003cp\u003e\u003ca href=\"/www/ailey/arcs/index.html\"\u003e\u003cstrong\u003eVisualization from \"Repertory as Living Dance Museum: The Alvin Ailey American Dance Theater's Performance History, 1958–89\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"/www/ailey/globe/index.html\"\u003e\u003cstrong\u003eVisualization from \"Global Architectures: The Alvin Ailey American Dance Theater, City by City and Year by Year, 1958–89\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"/www/ailey/streams/index.html\"\u003e\u003cstrong\u003eVisualization from \"Generations of Embodied Knowledge: The Alvin Ailey American Dance Theater's Dance Artists, 1958–2023\"\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24722","type":"region","attributes":{"id":24722,"position":7,"columns":6,"block_editor_id":3659,"created_at":"2026-08-26T14:34:00.449-04:00","updated_at":"2026-08-26T14:34:00.449-04:00","region_components":[{"data":{"id":"45428","type":"region_component","attributes":{"id":45428,"component_id":16322,"component_type":"TextComponent","position":1,"region_id":24722,"created_at":"2026-08-26T14:34:00.457-04:00","updated_at":"2026-08-26T14:34:00.457-04:00","component":{"data":{"id":"16322","type":"component","attributes":{"id":16322,"exhibition_id":1069,"text":"\u003ch2\u003e\u003cstrong\u003eRadical Accounting: Alvin Ailey American Dance Theater’s Data as a Framework for Historical Imagination\u003c/strong\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003eThese three animations transform archival materials to visualize the reach of the Alvin Ailey American Dance Theater (AAADT). They show how the AAADT grew from a small touring company to a global phenomenon, charting the impact of Ailey not only as a choreographer but also as someone who shared a living history of dance with audiences around the world. In doing so, the series traces embodied knowledge across generations of dancers.\u003c/p\u003e\u003cp class=\"large\"\u003eFor nearly three years, researchers Harmony Bench and Kate Elswit composed the datasets underlying these models from more than thirty-thousand documents located in archives across the United States. Materials ranged from programs and tour itineraries to performer diaries and other personal materials, as well as data previously compiled by the AAADT. Drawing movement from static records, the process of intentional data curation and visualization works to construct a new framework for historical imagination. This brings each dancer, performance venue, and choreography into view, foregrounding how dance histories are collective and interdependent.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"2294","type":"exhibition","attributes":{"id":2294,"title":"Whitney Biennial 2026","start_time":"2026-03-08T00:00:00.000-05:00","end_time":"2026-10-12T00:00:00.000-04:00","member_start_time":"2026-03-04T00:00:00.000-05:00","member_end_time":"2026-03-07T00:00:00.000-05:00","date_override":"On Partial view through Oct 12","url":"/exhibitions/2026-biennial","primary_text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eFloor 5 will remain on view through Aug 23\u003c/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cstrong\u003eFloor 1 \u003cstrong\u003ewill remain on view through\u003c/strong\u003e Sept 7\u003c/strong\u003e\u003c/strong\u003e\u003cbr\u003e\u003cstrong\u003eFloor 6 \u003cstrong\u003ewill remain on view through\u003c/strong\u003e Oct 12\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003eThe eighty-second edition of the Whitney Biennial, like those before it, offers a space for contemplating the shifting currents of art in the United States, asking not only what is being made but also what it means to name something “American” at all. Attentive to the feelings that saturate contemporary life and bind people together, this Biennial is less a definitive answer than an invitation to tune in to the moods offered by an intergenerational and international group of fifty-six artists, duos, and collectives who sustain this ongoing conversation. Alongside artists from across the country, the exhibition features works by artists from places marked by the broad reach of US power, ranging from Afghanistan to Vietnam. Using a range of media and artistic strategies, they explore interspecies kinships, familial relations, geopolitical entanglements, technological affinities, infrastructural networks, precarious ecologies, and shared mythologies. As an ensemble, their works suggest togetherness through difference—avoiding clear ideological declarations in favor of the unusual alliances, improvised provocations, and irreverent associations that are required to thrive in the present moment.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eThis exhibition includes a \u003ca href=\"/billboard\" data-turbo-frame=\"_top\"\u003e\u003cstrong\u003ebillboard\u003c/strong\u003e\u003c/a\u003e across from the Museum’s entrance on Gansevoort Street.\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eWhitney Biennial 2026\u003c/em\u003e is co-organized by Whitney curators Marcela Guerrero, the DeMartini Family Curator, and Drew Sawyer, the Sondra Gilman Curator of Photography with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow.\u003c/p\u003e\u003csection\u003e\u003cp class=\"large\"\u003eReview \u003ca href=\"/exhibitions/2026-biennial/accessibility-information\" data-turbo-frame=\"_top\"\u003eaccessibility information\u003c/a\u003e before visiting \u003cem\u003eWhitney Biennial 2026\u003c/em\u003e.\u003c/p\u003e\u003c/section\u003e","primary_media_id":65310,"override_media_id":64738,"sign_media_id":64826,"feature_id":112,"artwork_series_id":null,"installation_series_id":2663,"perspective_series_id":null,"press_highlights":"\u003cp data-testid=\"headline\"\u003e\u003ca href=\"https://www.nytimes.com/2025/12/15/arts/design/whitney-biennial-56-artists.html?unlocked_article_code=1.808.ZWP2.lB7sPVyl-r88\u0026smid=nytcore-ios-share\"\u003eWhitney Biennial Names 56 Artists to Unwind These ‘Weird Times’—\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"","videos_description":"","popularity":1.0,"created_at":"2025-05-14T12:24:08.166-04:00","updated_at":"2026-08-26T09:50:09.051-04:00","block_editor":{"data":{"id":"5837","type":"block_editor","attributes":{"id":5837,"exhibition_id":2294,"page_id":null,"created_at":"2025-06-16T12:38:42.410-04:00","updated_at":"2025-06-16T12:38:42.410-04:00","regions":[{"data":{"id":"23848","type":"region","attributes":{"id":23848,"position":1,"columns":12,"block_editor_id":5837,"created_at":"2026-03-05T17:04:02.277-05:00","updated_at":"2026-04-10T09:33:05.322-04:00","region_components":[{"data":{"id":"43912","type":"region_component","attributes":{"id":43912,"component_id":161,"component_type":"JumplinkComponent","position":1,"region_id":23848,"created_at":"2026-03-05T17:04:02.324-05:00","updated_at":"2026-04-10T09:33:05.357-04:00","component":{"data":{"id":"161","type":"component","attributes":{"id":161,"exhibition_id":2294,"text":"Performances"}}}}}}]}}},{"data":{"id":"23850","type":"region","attributes":{"id":23850,"position":2,"columns":12,"block_editor_id":5837,"created_at":"2026-03-05T17:04:02.435-05:00","updated_at":"2026-04-10T09:33:05.372-04:00","region_components":[{"data":{"id":"43914","type":"region_component","attributes":{"id":43914,"component_id":287,"component_type":"EventsComponent","position":1,"region_id":23850,"created_at":"2026-03-05T17:04:02.508-05:00","updated_at":"2026-04-10T09:33:05.382-04:00","component":{"data":{"id":"287","type":"component","attributes":{"id":287,"exhibition_id":2294}}}}}}]}}}]}}}}},{"id":"2429","type":"exhibition","attributes":{"id":2429,"title":"Roy Lichtenstein: 1997","start_time":"2026-09-05T00:00:00.000-04:00","end_time":"2027-06-01T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"Opens Sept 5","url":"/exhibitions/lichtenstein-1997","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003e\u003cstrong\u003eRoy Lichtenstein: 1997\u003c/strong\u003e\u003c/em\u003e\u003cstrong\u003e\u0026nbsp;is presented on the Museum's 3rd floor. This exhibition runs in conjunction with the major exhibition\u0026nbsp;\u003c/strong\u003e\u003ca href=\"/exhibitions/lichtenstein\"\u003e\u003cstrong\u003e\u003cem\u003eRoy Lichtenstein: Like New\u003c/em\u003e\u003c/strong\u003e\u003c/a\u003e\u003cstrong\u003e, opening October 11 on the Museum's 5th floor.\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eRoy Lichtenstein: 1997\u003c/em\u003e is a focused exhibition highlighting rarely seen works from the last year of the pioneering \u003ca href=\"/artists/779\"\u003ePop artist’\u003c/a\u003es life. Echoing and expanding on key throughlines from \u003cem\u003eRoy Lichtenstein: Like New\u003c/em\u003e, presented on the Museum’s 5th floor, \u003cem\u003eRoy Lichtenstein: 1997\u003c/em\u003e includes prints, photographs, and sculptural maquettes along with drawing and collage studies for a number of unrealized projects.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eThis presentation demonstrates the incredible vitality of Lichtenstein’s vision and his restless pursuit of new ideas five decades into his career. While the artist is often associated with his works of the 1960s and 1970s, \u003cem\u003eRoy Lichtenstein: 1997\u003c/em\u003e offers fresh insight into the range of the artist’s late experimentation and his response to the advent of the digital age.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eRoy Lichtenstein: 1997\u003c/em\u003e is organized by David Crane, Curatorial Research Associate, and Nakai Falcón, Curatorial Assistant.\u003c/p\u003e\u003cp data-pm-slice=\"1 1 []\"\u003eGenerous support for \u003cem\u003eRoy Lichtenstein: 1997\u003c/em\u003e is provided by David Bolger.\u0026nbsp;\u003c/p\u003e","primary_media_id":65304,"override_media_id":null,"sign_media_id":65304,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.9761904761904762,"created_at":"2026-05-07T01:00:12.425-04:00","updated_at":"2026-08-25T13:41:32.371-04:00","block_editor":{"data":{"id":"6085","type":"block_editor","attributes":{"id":6085,"exhibition_id":2429,"page_id":null,"created_at":"2026-06-23T12:32:18.670-04:00","updated_at":"2026-06-23T12:32:18.670-04:00","regions":[]}}}}},{"id":"2436","type":"exhibition","attributes":{"id":2436,"title":"Coumba Samba: Stars and Stripes","start_time":"2026-09-19T00:00:00.000-04:00","end_time":"2027-01-18T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/coumba-samba","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eCoumba Samba: Stars and Stripes\u003c/em\u003e is the first solo museum presentation devoted to artist Coumba Samba. A Senegalese American artist based in New York, Samba is known for her site-specific installations that draw on histories of modernist abstraction and minimalism, taking seemingly neutral non-objective forms from the global built environment and exposing the social, political, and economic structures embedded within.\u003c/p\u003e\u003cp class=\"large\"\u003eFor this lobby gallery exhibition, Samba is presenting an immersive installation titled \u003cem\u003eStars and Stripes\u003c/em\u003e that critically examines the development of nuclear power and the African resource extraction that has sustained it. Titled after a common figure of speech to refer to the American flag, the installation continues Samba’s practice of deconstructing the symbols and forms that uphold the U.S. military-industrial complex.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eCoumba Samba: Stars and Stripes\u003c/em\u003e is organized by Rujeko Hockley, Guest Curator, with Antonia Pocock, Curatorial Assistant.\u003c/p\u003e","primary_media_id":65674,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.9613095238095238,"created_at":"2026-06-23T12:35:48.519-04:00","updated_at":"2026-08-21T01:00:01.601-04:00","block_editor":{"data":{"id":"6091","type":"block_editor","attributes":{"id":6091,"exhibition_id":2436,"page_id":null,"created_at":"2026-06-23T12:35:48.516-04:00","updated_at":"2026-06-23T12:35:48.516-04:00","regions":[]}}}}},{"id":"2301","type":"exhibition","attributes":{"id":2301,"title":"“Untitled” (America)","start_time":"2025-07-05T00:00:00.000-04:00","end_time":"2029-06-05T00:00:00.000-04:00","member_start_time":"2025-07-02T00:00:00.000-04:00","member_end_time":"2025-07-04T00:00:00.000-04:00","date_override":"","url":"/exhibitions/untitled-america","primary_text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eThis exhibition opened July 5, 2025 and will be on continuous view.\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition features renowned works from the Whitney’s collection alongside recent acquisitions, highlighting key ideas and approaches in American art from 1900 through the early 1980s. Beginning with the Whitney’s robust holdings in figurative and realist traditions, the presentation considers how artists have responded to place and memory in the American landscape, popular culture and the rise of consumerism, the seductions and illusions of mass media, and the spatial and cultural dynamics of abstraction.\u003c/p\u003e\u003cp class=\"large\"\u003eIn 1930 sculptor and philanthropist \u003ca href=\"/artists/1415\"\u003eGertrude Vanderbilt Whitney\u003c/a\u003e founded the Whitney Museum of American Art as a means of supporting living artists and creating a platform for contemporary American art. Her vision has inspired the Museum’s collecting practice for nearly a century, even as the very idea of “America” has continued to evolve. \u003cem\u003e“\u003c/em\u003e\u003ca href=\"/collection/works/27963\"\u003e\u003cem\u003eUntitled” (America)\u003c/em\u003e\u003c/a\u003e pays homage to artist \u003ca href=\"/artists/3454\"\u003eFelix Gonzalez-Torres\u003c/a\u003e, whose work of the same title illuminates a window in the exhibition, creating a passage between the Museum and the world beyond. Writing about this work, Gonzalez-Torres reflected: “America has always been an unattainable dream, a place to dream about. . . . The America that I now know is still a place of light, a place of opportunities, of risks, of justice, of racism, of injustice, of hunger and excess, of pleasure and growth. Democracy is a constant job, a collective dedication.” In that spirit, this presentation invites viewers to explore the distinct visions of “America” put forth by artists as they took stock of the pressing ideas of their time and imagined new possibilities.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003e“Untitled” (America)\u003c/em\u003e is organized by Kim Conaty, Nancy and Steve Crown Family Chief Curator, with Antonia Pocock, Curatorial Assistant.\u003c/p\u003e\u003cp class=\"large\"\u003eThis presentation of the Whitney’s collection is dedicated to the memory of Leonard A. Lauder, Chairman Emeritus.\u003c/p\u003e\u003cp\u003e\u003cem\u003eUntitled (America)\u0026nbsp;\u003c/em\u003eis sponsored by\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/823977/MM_logo_black.jpg\" style=\"height:25px;\"\u003e\u003c/p\u003e\u003cp\u003eMajor support is provided by Judy Hart Angelo, the Barbara Haskell American Fellows Legacy Fund, Lise and Michael Evans, Meg and Bennett Goodman, The KHR McNeely Family Foundation | Kevin, Rosemary, and Hannah Rose McNeely, Stephanie March and Dan Benton, and The Ron and Kerry Moelis Family Foundation.\u003c/p\u003e\u003cp\u003eSignificant support is provided by Jill and Darius Bikoff and Elizabeth Marsteller Gordon.\u003c/p\u003e\u003cp\u003eGenerous support is provided by The Erving and Joyce Wolf Foundation, Timothy Greensfelder, the O’Grady Foundation, Susanne and William E. Pritchard III, the Thomas \u0026amp; Linda Koehn Foundation, and an anonymous donor.\u003c/p\u003e\u003cp\u003eAdditional support is provided by Ann Ames.\u003c/p\u003e\u003cp\u003eSpanish translation for “\u003cem\u003eUntitled” \u0026nbsp;(America)\u003c/em\u003e is made possible through the support of Claudia Laviada and Carlos Rohm, and Stephanie March and Dan Benton.\u003c/p\u003e","primary_media_id":63991,"override_media_id":null,"sign_media_id":65332,"feature_id":107,"artwork_series_id":null,"installation_series_id":2650,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.9821428571428571,"created_at":"2025-06-11T10:53:23.306-04:00","updated_at":"2026-08-20T16:02:03.352-04:00","block_editor":{"data":{"id":"5851","type":"block_editor","attributes":{"id":5851,"exhibition_id":2301,"page_id":null,"created_at":"2025-06-16T12:38:42.524-04:00","updated_at":"2025-06-16T12:38:42.524-04:00","regions":[]}}}}},{"id":"1089","type":"exhibition","attributes":{"id":1089,"title":"Mendi + Keith Obadike: The Interaction of Coloreds","start_time":"2002-08-01T00:00:00.000-04:00","end_time":"2002-08-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"August 2002","url":"/exhibitions/mendi-keith-obadike","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eThe Interaction of Coloreds\u003c/em\u003e, part of \u003ca href=\"/artists/8340\"\u003eMendi + Keith Obadike\u003c/a\u003e’s Black Net.Art Actions, explores patterns of racial classification on the web. Drawing attention to the strong link between skin color and money in the filtering and tracking inherent to e-commerce, the artists created the Color Check System, which is considered the world’s first online skin-color verification system. The interactive website enables the translation of skin tone, as captured in a photo or screenshot, into a six-digit, three-byte hexadecimal number used in HTML (an online scripting language) to represent color: #FFFFFF, for example, equals white.\u003c/p\u003e\u003cp class=\"large\"\u003eUsing satire as strategy, the work prompts conversations about racial discrimination in internet commerce. It also critiqued the tactics utilized in the early 2000s by online commercial ventures to position the web as a space without prejudice, free from bias due to physical appearance, and therefore devoid entirely of notions of race.\u003c/p\u003e","primary_media_id":56346,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.22023809523809523,"created_at":"2023-08-29T21:20:38.641-04:00","updated_at":"2026-08-19T17:35:48.009-04:00","block_editor":{"data":{"id":"3687","type":"block_editor","attributes":{"id":3687,"exhibition_id":1089,"page_id":null,"created_at":"2025-06-16T12:38:18.950-04:00","updated_at":"2025-06-16T12:38:18.950-04:00","regions":[{"data":{"id":"24129","type":"region","attributes":{"id":24129,"position":1,"columns":12,"block_editor_id":3687,"created_at":"2026-03-30T15:40:39.763-04:00","updated_at":"2026-03-30T15:40:39.811-04:00","region_components":[{"data":{"id":"44361","type":"region_component","attributes":{"id":44361,"component_id":15909,"component_type":"TextComponent","position":1,"region_id":24129,"created_at":"2026-03-30T15:40:39.799-04:00","updated_at":"2026-03-30T15:40:39.799-04:00","component":{"data":{"id":"15909","type":"component","attributes":{"id":15909,"exhibition_id":1089,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eMendi + Keith Obadike\u003c/strong\u003e (established 1996, Nashville, Tennessee) are artists, composers, and writers whose works draw upon histories of experimental media art and performance. Their early collaborations were pioneering pieces for the Internet. Their projects include a series of large-scale, sound artworks that engage cities, architecture, and public space include the projects \u003cem\u003eBlues Speaker (for James Baldwin)\u003c/em\u003e (2015) at the New School’s University Center, New York; \u003cem\u003eFree/Phase\u003c/em\u003e (2014–15) at the Chicago Cultural Center and the Rebuild Foundation, Chicago; \u003cem\u003eSonic Migration\u003c/em\u003e (2015–16) at Tindley Temple, Philadelphia; \u003cem\u003eCompass Song\u0026nbsp;\u003c/em\u003e(2017), an app for New York’s Times Square; and \u003cem\u003eSlowDrag\u003c/em\u003e (2023) in the St. Louis Place community, Missouri. Mendi + Keith Obadike have released recordings on Bridge Records and books with Lotus Press and 1913 Press. Their work has been shown in New York at the New Museum, the Studio Museum in Harlem, the Metropolitan Museum of Art, and the Museum of Modern Art; and in exhibitions including \u003cem\u003eElectronic Superhighway (2016–1966)\u003c/em\u003e (2016) at the Whitechapel Gallery, London; \u003cem\u003eI Was Raised on The Internet\u003c/em\u003e (2018) at the Museum of Contemporary Art, Chicago; \u003cem\u003eProgrammed: Rules, Codes, and Choreographies in Art, 1965–2018\u003c/em\u003e (2018–19) at the Whitney Museum of American Art, New York; and \u003cem\u003eDifference Machines: Technology and Identity in Contemporary Art\u003c/em\u003e (2021) at the Buffalo AKG Art Museum. They have received a Rockefeller New Media Arts Fellowship (2004), a Pick-Laudati Award for Digital Art (2007), a New York Foundation for the Arts fellowship in fiction (2010), the Louis Comfort Tiffany Biennial Award (2016), and have served as the David Tudor Composers in Residence at Mills College at Northeastern University, Oakland (2021). Mendi + Keith Obadike are professors at Cornell University, Ithaca, and serve on the boards of Rhizome and the Vera List Center for Art and Politics, New York.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"280","type":"exhibition","attributes":{"id":280,"title":"Casey Reas:\u003cbr\u003e{Software} Structures","start_time":"2004-08-01T00:00:00.000-04:00","end_time":"2016-08-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"Launched 2004, Restored 2016","url":"/exhibitions/software-structures","primary_text":"\u003cp class=\"large\"\u003eInspired by Sol LeWitt's wall drawings, \u003cem\u003e{Software} Structures\u003c/em\u003e explores the relevance of conceptual art to the idea of software as art. \u003ca href=\"http://reas.com\"\u003eCasey Reas\u003c/a\u003e created three unique structures—text descriptions outlining dynamic relations between elements—which were then implemented: twenty-six pieces of software derived from the textual structures were coded to isolate different components, including interpretation, material, and process. For each of them, you may view the software, source code, and comments.\u003c/p\u003e\u003cp class=\"large\"\u003e\"The catalyst for this project is the work of Sol LeWitt, specifically his wall drawings. I had a simple question: 'Is the history of conceptual art relevant to the idea of software as art?'\" explains Reas. \"I began to answer the question by implementing three of Lewitt's drawings in software and then making modifications. After working with the LeWitt plans, I created three structures unique to software. These software structures are text descriptions outlining dynamic relations between elements. They develop in the vague domain of image and then mature in the more defined structures of natural language before any thought is given to a specific machine implementation. Twenty-six pieces of software derived from these structures were written to isolate different components of software structures including interpretation, material, and process. For each, you may view the software, source code, and comments.\"\u003c/p\u003e\u003cp class=\"large\"\u003eOriginally created by Casey Reas with \u003ca href=\"http://levitated.net/\" target=\"_self\"\u003eJared Tarbell\u003c/a\u003e, \u003ca href=\"http://flight404.com/\"\u003eRobert Hodgin\u003c/a\u003e, and \u003ca href=\"http://metaphorical.net/\"\u003eWilliam Ngan\u003c/a\u003e, \u003cem\u003e{Software} Structures\u0026nbsp;\u003c/em\u003ewas restored by Reas in 2016 to work well with contemporary web browsers. The original software was created as Java Applets which are no longer widely supported in web browsers. The updated version uses JavaScript to be more accessible.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"https://artport.whitney.org/commissions/software-structures-2016/text.html\"\u003eRead more about this project\u003c/a\u003e.\u003c/p\u003e\u003cp\u003eSome of the works within this project rely on Flash or Java applets, emulated through \u003ca href=\"https://ruffle.rs/\"\u003eRuffle\u003c/a\u003e and \u003ca href=\"https://cheerpj.com/\"\u003eCheerpJ\u003c/a\u003e to run in modern browsers.\u003c/p\u003e","primary_media_id":2571,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.7470238095238095,"created_at":"2018-07-20T10:47:29.000-04:00","updated_at":"2026-08-18T14:28:53.730-04:00","block_editor":{"data":{"id":"2439","type":"block_editor","attributes":{"id":2439,"exhibition_id":280,"page_id":null,"created_at":"2025-06-16T12:34:36.720-04:00","updated_at":"2025-06-16T12:34:36.720-04:00","regions":[]}}}}},{"id":"1082","type":"exhibition","attributes":{"id":1082,"title":"Zhang Ga: étant donnés: to be looked at with two eyes, about 2 feet away (from the screen), for precisely one minute; clicked, even; red, yellow, blue","start_time":"2002-01-01T00:00:00.000-05:00","end_time":"2002-01-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"January 2002","url":"/exhibitions/zhang-ga","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8206\"\u003eZhang Ga\u003c/a\u003e’s Gate Page reimagined iconic artworks by Marcel Duchamp and Barnett Newman. Duchamp’s \u003cem\u003eÉtant donnés\u003c/em\u003e (1966) assemblage features a nude woman—lying in front of a landscape and holding a gas lamp—viewable only through peepholes in a wooden door. Zhang Ga xeroxed a reproduction of the tableau, animated it with flickering light shone through the woman’s handheld lamp, and streamed it live with a webcam. The title of the Gate Page also references Duchamp’s \u003cem\u003eTo Be Looked at (from the Other Side of the Glass) with One Eye, Close to, for Almost an Hour\u003c/em\u003e (1918), a painting between two glass panes, and updates it: not with one eye but two, not close to but two feet from the screen, and not for an hour but one minute. An interactive script interrupted the stream of the photocopied image with areas of red, yellow, and blue, alluding to Newman’s series \u003cem\u003eWho’s Afraid of\u003c/em\u003e \u003cem\u003eRed, Yellow and Blue\u003c/em\u003e (1966–70). While Newman’s canvases demand sustained contemplation, the color fields of the Gate Page appear only momentarily, echoing the short attention spans of screen culture. The work, now shown as a simulation of the original live stream, staged a dialogue between Duchamp’s optical provocations and Newman’s chromatic sublime, reframed as the flicker, click, and refresh of the internet.\u003c/p\u003e\u003cp class=\"large\"\u003eConservation by Xu Chong.\u003c/p\u003e","primary_media_id":65106,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.6309523809523809,"created_at":"2023-08-24T00:12:31.540-04:00","updated_at":"2026-08-17T11:56:05.640-04:00","block_editor":{"data":{"id":"3673","type":"block_editor","attributes":{"id":3673,"exhibition_id":1082,"page_id":null,"created_at":"2025-06-16T12:38:18.640-04:00","updated_at":"2025-06-16T12:38:18.640-04:00","regions":[{"data":{"id":"23854","type":"region","attributes":{"id":23854,"position":1,"columns":12,"block_editor_id":3673,"created_at":"2026-03-09T11:09:44.504-04:00","updated_at":"2026-03-09T11:10:45.874-04:00","region_components":[{"data":{"id":"43923","type":"region_component","attributes":{"id":43923,"component_id":15761,"component_type":"TextComponent","position":1,"region_id":23854,"created_at":"2026-03-09T11:09:44.518-04:00","updated_at":"2026-03-09T11:10:45.883-04:00","component":{"data":{"id":"15761","type":"component","attributes":{"id":15761,"exhibition_id":1082,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eZhang Ga\u003c/strong\u003e (b. 1963; Hangzhou, China) is an artist, curator, writer, and educator working at the intersection of culture and tech­nology. Formerly the director of the New York–based Netart Initiative, Zhang Ga has exhib­ited and lectured on media art worldwide and has published in \u003cem\u003eOctober\u003c/em\u003e, \u003cem\u003eFlash Art International\u003c/em\u003e, and with the MIT Press. He directed Chronus Art Center, Shanghai, from 2015 to 2025, and is the former consulting curator of media art at the National Art Museum of China, Beijing, where he curated three editions of its international media art triennial (2008-2014). Other curatorial work includes \u003ci\u003eKairos Resounding: Julian Charrière \u0026amp; Laurent Grasso\u003c/i\u003e (798 Cube, Beijing, 2026),\u0026nbsp;\u003cem\u003eZHANG Peili\u0026nbsp;\u003c/em\u003e(Red Brick Art Museum, Beijing, 2024–25), \u003cem\u003eTopologies of the Real\u0026nbsp;\u003c/em\u003e(Shen­zhen Museum of Contemporary Art and Urban Planning, China, 2023), \u003cem\u003eMotion Is Action: 35 Years of Chinese Media Art\u0026nbsp;\u003c/em\u003e(By Art Matters Museum, Hangzhou, China, 2023), the 6th Guangzhou Triennial (2018), and \u003cem\u003eDatumsoria: The Return of the Real\u003c/em\u003e (ZKM Center for Art and Media Karlsruhe, Germany, 2017). Zhang Ga is co-director of Media Art 21 (\u003ca href=\"https://ma21.org/\" title=\"https://ma21.org/\" data-outlook-id=\"5cadcd28-41dd-45e7-9246-4285aa441ddc\"\u003ema21.org\u003c/a\u003e) and Distinguished Professor at the Central Academy of Fine Arts, Beijing.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1121","type":"exhibition","attributes":{"id":1121,"title":"Zhang Ga: The Peoples’ Portrait: A Globally Networked Public Art Project","start_time":"2004-11-01T00:00:00.000-05:00","end_time":"2004-11-30T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"November 2004","url":"/exhibitions/zhang-ga-2004","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8206\"\u003eZhang Ga\u003c/a\u003e’s \u003cem\u003eThe Peoples’ Portrait: A Globally Networked Public Art Project\u003c/em\u003e is a participatory, networked, public art project that creates a global portrait of people, rendered in real time and displayed instantly and simultaneously on large video walls around the world and online. The 2004 version was shown on both the artport Gate Page and the website of the MECAD Media Center for Art and Design in Barcelona. Kiosks equipped with cameras set up by the artist allowed passersby to take snapshots that were instantly transmitted to a central server. The portraits were then displayed in real time on video walls at Reuters’s Times Square Headquarters, New York; the Museum of the Future at Ars Electronica Center, Linz, Austria; DEAF04 (Dutch Electronic Art Festival 2004), Rotterdam, Netherlands; SENI Fest in Singapore; and MAAP (Multimedia Art Asia Pacific) and Queensland University of Technology in Brisbane, Australia. The images were shown first in chronological order then randomly from the expanding online archive. By using network and communication infrastructures as image-making tools, Zhang Ga collapses time and space and challenges traditional understanding of portraiture and authorship in the digital age.\u003c/p\u003e\u003cp\u003eMore information about \u003cem\u003eThe Peoples' Portrait\u003c/em\u003e is available on \u003ca href=\"https://www.thing.net/~zhang/people/\"\u003ething.net\u003c/a\u003e.\u003c/p\u003e","primary_media_id":56603,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.4583333333333333,"created_at":"2023-09-28T21:51:26.599-04:00","updated_at":"2026-08-17T11:55:53.643-04:00","block_editor":{"data":{"id":"3749","type":"block_editor","attributes":{"id":3749,"exhibition_id":1121,"page_id":null,"created_at":"2025-06-16T12:38:21.630-04:00","updated_at":"2025-06-16T12:38:21.630-04:00","regions":[{"data":{"id":"24170","type":"region","attributes":{"id":24170,"position":1,"columns":12,"block_editor_id":3749,"created_at":"2026-04-13T16:07:27.591-04:00","updated_at":"2026-04-13T16:07:27.639-04:00","region_components":[{"data":{"id":"44446","type":"region_component","attributes":{"id":44446,"component_id":15949,"component_type":"TextComponent","position":1,"region_id":24170,"created_at":"2026-04-13T16:07:27.625-04:00","updated_at":"2026-04-13T16:07:27.625-04:00","component":{"data":{"id":"15949","type":"component","attributes":{"id":15949,"exhibition_id":1121,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eZhang Ga\u0026nbsp;\u003c/strong\u003e(b. 1963; Hangzhou, China) is an artist, curator, writer, and educator working at the intersection of culture and tech­nology. Formerly the director of the New York–based Netart Initiative, Zhang Ga has exhib­ited and lectured on media art worldwide and has published in \u003cem\u003eOctober\u003c/em\u003e, \u003cem\u003eFlash Art International\u003c/em\u003e, and with the MIT Press. He directed Chronus Art Center, Shanghai, from 2015 to 2025, and is the former consulting curator of media art at the National Art Museum of China, Beijing, where he curated three editions of its international media art triennial (2008-2014). Other curatorial work includes\u0026nbsp;\u003ci\u003eKairos Resounding: Julian Charrière \u0026amp; Laurent Grasso\u003c/i\u003e (798 Cube, Beijing, 2026),\u0026nbsp;\u003cem\u003eZHANG Peili\u0026nbsp;\u003c/em\u003e(Red Brick Art Museum, Beijing, 2024–25), \u003cem\u003eTopologies of the Real\u0026nbsp;\u003c/em\u003e(Shen­zhen Museum of Contemporary Art and Urban Planning, China, 2023), \u003cem\u003eMotion Is Action: 35 Years of Chinese Media Art\u0026nbsp;\u003c/em\u003e(By Art Matters Museum, Hangzhou, China, 2023), the 6th Guangzhou Triennial (2018), and \u003cem\u003eDatumsoria: The Return of the Real\u003c/em\u003e (ZKM Center for Art and Media Karlsruhe, Germany, 2017). Zhang Ga is co-director of Media Art 21 (\u003ca href=\"https://ma21.org/\" title=\"https://ma21.org/\" data-outlook-id=\"5cadcd28-41dd-45e7-9246-4285aa441ddc\"\u003ema21.org\u003c/a\u003e) and Distinguished Professor at the Central Academy of Fine Arts, Beijing.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1044","type":"exhibition","attributes":{"id":1044,"title":"Auriea Harvey: SITE1","start_time":"2023-03-03T00:00:00.000-05:00","end_time":"2024-03-03T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"2023","url":"/exhibitions/site1","primary_text":"\u003cp class=\"large\"\u003eIn \u003cem\u003eSITE1\u003c/em\u003e, a fly-through of a three-dimensional space takes viewers on a journey into an intricate, machinic object resembling a spinning wheel, which gradually evolves into a cave-like environment.\u003c/p\u003e\u003cp class=\"large\"\u003eThe object is an abstracted star chart and computerized cosmology based on \u003cem\u003eL.O.C.K.\u003c/em\u003e, a previous work \u003ca href=\"/artists/20741\"\u003eHarvey\u003c/a\u003e created as part of the artist duo Tale of Tales. The planetary constellations evoked by the spinning wheel—Mars, Mercury, and Earth itself—function as a chart that draws viewers into a cave. Embedded in it are elements of the characters depicted in Auriea Harvey’s sculpture \u003cem\u003eOx\u003c/em\u003e, which exists in physical form and as a virtual model. Among these characters are Fauna, based on a scan of Harvey’s head, and Minoriea, a futuristic goddess that is half woman, half bull and has been the artist’s avatar in virtual worlds since 2017. The virtual world of \u003cem\u003eSITE1\u003c/em\u003e represents an archaeological dig into the “origin site” of Harvey's characters—an excavation of the universe that the artist is building from mythologies and personal stories. Just as \u003cem\u003eOx\u003c/em\u003e blends boundaries between virtual and tangible forms, \u003cem\u003eSITE1\u003c/em\u003e merges a virtual object and an environment. Viewers can navigate the work by scrolling, or hit the “enter” / “return” key for a continuous scroll.\u003c/p\u003e","primary_media_id":54784,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.4375,"created_at":"2023-02-28T10:18:22.994-05:00","updated_at":"2026-08-17T11:40:51.332-04:00","block_editor":{"data":{"id":"3637","type":"block_editor","attributes":{"id":3637,"exhibition_id":1044,"page_id":null,"created_at":"2025-06-16T12:38:16.372-04:00","updated_at":"2025-06-16T12:38:16.372-04:00","regions":[{"data":{"id":"22230","type":"region","attributes":{"id":22230,"position":1,"columns":12,"block_editor_id":3637,"created_at":"2025-02-19T09:52:05.325-05:00","updated_at":"2025-02-19T09:52:05.325-05:00","region_components":[{"data":{"id":"40522","type":"region_component","attributes":{"id":40522,"component_id":14759,"component_type":"TextComponent","position":1,"region_id":22230,"created_at":"2025-02-19T09:52:05.335-05:00","updated_at":"2025-02-19T09:52:05.345-05:00","component":{"data":{"id":"14759","type":"component","attributes":{"id":14759,"exhibition_id":1044,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAuriea Harvey\u003c/strong\u003e (b. 1971) is an artist producing simulations and sculptures that bridge physical and digital space. After plumbing the depths of net art and video games, she turned her attention to 3D modeling, printing, and mixed reality. Her work consists of sculptures that blend digital and handmade production. Harvey is half of the artist duo Entropy8Zuper! / Tale of Tales / Song of Songs, known for their pioneering works in Internet art, video games, and XR. Harvey’s work is in the permanent collections of the Walker Art Center, SFMoMA, the Lot 555 NFT collection, and Rhizome’s Net Art Anthology. Her videogames and VR works have been shown in exhibitions at venues including the Tinguely Museum, Basel; the Victoria \u0026amp; Albert Museum, London; the New Museum, New York; Brooklyn Academy of Music, New York; and ZKM, Karlsruhe. Harvey is the recipient of a Creative Capital grant and a winner of the Independent Games Festival Nuovo Award. She is represented by bitforms gallery, NYC.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"283","type":"exhibition","attributes":{"id":283,"title":"Tina LaPorta:\u003cbr\u003eVoyeur Web","start_time":"2001-07-01T00:00:00.000-04:00","end_time":"2001-07-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"2001","url":"/exhibitions/voyeur-web","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8243\"\u003eTina LaPorta\u003c/a\u003e's \u003cem\u003eVOYEUR_WEB\u003c/em\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003ecollapses the private and public spheres by connecting the blueprint of an apartment to images from webcams that open a view into the apartment's rooms. During the month of July 2001, \u003cem\u003eVOYEUR_WEB\u003c/em\u003e linked to live webcams. The links have been replaced with an archive version of the original work.\u003c/p\u003e","primary_media_id":2574,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.8095238095238095,"created_at":"2018-07-20T10:58:42.000-04:00","updated_at":"2026-08-14T15:35:17.675-04:00","block_editor":{"data":{"id":"2445","type":"block_editor","attributes":{"id":2445,"exhibition_id":283,"page_id":null,"created_at":"2025-06-16T12:34:36.924-04:00","updated_at":"2025-06-16T12:34:36.924-04:00","regions":[{"data":{"id":"22182","type":"region","attributes":{"id":22182,"position":1,"columns":12,"block_editor_id":2445,"created_at":"2025-02-19T09:52:01.713-05:00","updated_at":"2025-02-19T09:52:01.713-05:00","region_components":[{"data":{"id":"40454","type":"region_component","attributes":{"id":40454,"component_id":14721,"component_type":"TextComponent","position":1,"region_id":22182,"created_at":"2025-02-19T09:52:01.721-05:00","updated_at":"2025-02-19T09:52:01.729-05:00","component":{"data":{"id":"14721","type":"component","attributes":{"id":14721,"exhibition_id":283,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eTina LaPorta\u003c/strong\u003e is a media artist who lives and works in New York City. Her most recent work has been created specifically for the Internet. She recently received the Web Residency Commission 2000 of The Alternative Museum, where she completed her World Wide Web work \u003cem\u003e\u003ca href=\"http://telematic.walkerart.org/datasphere/laporta_index.html\" target=\"_blank\"\u003eRe:mote_corp@REALities\u003c/a\u003e\u003c/em\u003e. In 1999, LaPorta received a commission for the creation of \u003cem\u003e\u003ca href=\"http://turbulence.org/Works/Distance/\" target=\"window\"\u003eDistance\u003c/a\u003e\u003c/em\u003e, a web-specific work hosted on Turbulence.org. Her work has been included in the exhibitions \u003cem\u003eTelematic Connections: The Virtual Embrace\u003c/em\u003e (2001); the \u003cem\u003eTechnically Engaged\u0026nbsp;\u003c/em\u003eshow at AIR Gallery, NYC (2000); the\u003cem\u003eDystopia and Identity in the Age of Global Communications\u003c/em\u003eexhibition at Tribes Gallery in NYC (2000); and in \u003cem\u003eBody as Byte\u0026nbsp;\u003c/em\u003eat Neues Kunstmuseum Luzern, Switzerland. LaPorta has been invited to participate in several symposia and on-line projects, including \"The Warhol Hijack,\" at weliveinpublic.com; \"Gender in New Media,\" an on-line panel at the \"INVENCAO: Thinking The Next Millennium\" conference, Sao Paulo, Brazil; and \"\u003ca href=\"http://heelstone.com/meridian/templates/laporta/\"\u003eAlterities: Interdisciplinarity and Feminine Practices of Space\u003c/a\u003e\" at the Ecole Suprieure Nationale des Beaux Arts, Paris, France.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"259","type":"exhibition","attributes":{"id":259,"title":"Eva and Franco Mattes: Riccardo Uncut","start_time":"2018-05-01T00:00:00.000-04:00","end_time":"2019-05-01T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"2018","url":"/exhibitions/riccardo-uncut","primary_text":"\u003cp class=\"large\"\u003eFor \u003ca href=\"/artport/commissions/riccardo-uncut\"\u003e\u003cem\u003eRiccardo Uncut\u003c/em\u003e\u003c/a\u003e, artists \u003ca href=\"/artists/19027\"\u003eEva\u003c/a\u003e and \u003ca href=\"/artists/19028\"\u003eFranco Mattes\u003c/a\u003e posted a call on social media, offering to buy someone's phone for $1,000 in order to turn the photo and video contents into an art project—an uncut and uncensored portrait of someone's life. Accessible to the public as a customized, chronological slideshow, \u003cem\u003eRiccardo Uncut\u003c/em\u003e gives viewers a unique glimpse into the personal life of Riccardo, the chosen applicant. The archive consists of approximately 3,000 images taken between 2004–2017 that include documentation of travels and vacations, friends and family, partners and sexual desire, daily life at home, office dynamics, food, art, architecture, and artistic endeavors. The accompanying song, which also appears as background music in one of Riccardo's videos, is part of the soundtrack of Rainer Werner Fassbinder's 1982 film \u003cem\u003eQuerelle\u003c/em\u003e, an adaptation of Jean Genet's 1947 novel \u003cem\u003eQuerelle de Brest\u003c/em\u003e.\u003c/p\u003e\u003cp class=\"large\"\u003eThe project was inspired by the questions, “How do we construct our digital memory?” and “Is there still such a thing as a ‘private photo?’” Social media create a perfect arena for re-creating the self as a lifestyle brand, performing a daily me, an idealized version of ourselves. With \u003cem\u003eRiccardo Uncut\u003c/em\u003e the Mattes investigate where one might find authenticity in self-representation and an unedited version of the self. The phone owner's willingness to sell the raw documentation of their personal life also astutely mirrors social media platforms’ terms of service, in which users assume all liability for the content of posted images. \u003cem\u003eRiccardo Uncut\u003c/em\u003e continues the explorations of privacy, transparency, voyeurism and exhibitionism that the Mattes pursued in their projects \u003cem\u003eLife Sharing\u003c/em\u003e (2000–2003) and \u003cem\u003eThe Others\u003c/em\u003e (2011).\u003c/p\u003e","primary_media_id":37784,"override_media_id":37787,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.6398809523809523,"created_at":"2018-04-27T16:47:44.000-04:00","updated_at":"2026-08-12T13:55:17.406-04:00","block_editor":{"data":{"id":"2403","type":"block_editor","attributes":{"id":2403,"exhibition_id":259,"page_id":null,"created_at":"2025-06-16T12:34:36.093-04:00","updated_at":"2025-06-16T12:34:36.093-04:00","regions":[{"data":{"id":"22168","type":"region","attributes":{"id":22168,"position":1,"columns":12,"block_editor_id":2403,"created_at":"2025-02-19T09:52:01.265-05:00","updated_at":"2026-02-03T16:15:42.615-05:00","region_components":[{"data":{"id":"40439","type":"region_component","attributes":{"id":40439,"component_id":14707,"component_type":"TextComponent","position":1,"region_id":22168,"created_at":"2025-02-19T09:52:01.274-05:00","updated_at":"2026-02-03T16:15:42.624-05:00","component":{"data":{"id":"14707","type":"component","attributes":{"id":14707,"exhibition_id":259,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eEva and Franco Mattes\u003c/strong\u003e (b. 1976, Italy) live and work in New York. Their work has been shown at the Museum of Contemporary Art, Chicago, USA; Mori Art Museum, Tokyo, Japan; the 20th Biennale of Sydney, Sydney, Australia; Electronic Superhighway and Artists’ Film International, Whitechapel Gallery, London, England; Big Bang Data, Somerset House, London, England; Royal Museums of Fine Arts of Belgium, Brussels, Belgium; Performa, New York, USA; MoMA PS1, New York, USA; New Museum, New York, USA; NTT ICC Museum, Tokyo, Japan; Manifesta, Frankfurt, Germany; and the Venice Biennale, Venice, Italy.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1127","type":"exhibition","attributes":{"id":1127,"title":"Erik Loyer: Living and Active","start_time":"2005-05-01T00:00:00.000-04:00","end_time":"2005-05-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"May 2005","url":"/exhibitions/erik-loyer","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/9999\"\u003eErik Loyer\u003c/a\u003e’s Gate Page \u003cem\u003eLiving and Active\u0026nbsp;\u003c/em\u003eprovided a portal to his award-winning project \u003cem\u003eThe Lair of the Marrow Monkey\u0026nbsp;\u003c/em\u003e(1998), a dynamic, abstract interface that allowed users to play with text to construct poetic narratives and reflections on memory. The Gate Page consists of an array of letters that jump around in a rectangular frame and, accompanied by sounds, assemble themselves in response to the viewer’s cursor. While the letters never fall neatly into a linear line of text, they are still recognizable as the biblical phrase \"For the word of God is living and active\" (Hebrews 4:12). Loyer’s Gate Page makes the meaning of the quote palpable, treating letters and words not as static signs but a dynamic, living, and active force that shapes lives.\u003c/p\u003e","primary_media_id":56613,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.38392857142857145,"created_at":"2023-09-29T11:50:07.528-04:00","updated_at":"2026-08-10T11:30:22.781-04:00","block_editor":{"data":{"id":"3761","type":"block_editor","attributes":{"id":3761,"exhibition_id":1127,"page_id":null,"created_at":"2025-06-16T12:38:21.812-04:00","updated_at":"2025-06-16T12:38:21.812-04:00","regions":[{"data":{"id":"24207","type":"region","attributes":{"id":24207,"position":1,"columns":12,"block_editor_id":3761,"created_at":"2026-04-14T16:03:13.694-04:00","updated_at":"2026-04-14T16:16:57.739-04:00","region_components":[{"data":{"id":"44484","type":"region_component","attributes":{"id":44484,"component_id":15986,"component_type":"TextComponent","position":1,"region_id":24207,"created_at":"2026-04-14T16:03:13.722-04:00","updated_at":"2026-04-14T16:16:57.745-04:00","component":{"data":{"id":"15986","type":"component","attributes":{"id":15986,"exhibition_id":1127,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eErik Loyer\u003c/strong\u003e (b. 1972; San Francisco, California) explores how interactive media change the way we share stories and experiences. In games, apps, comics, websites, and videos, he has used digital media to interweave present and past, music and poetry, performance and archive. Loyer founded the interactive media studio Opertoon in 2008, releasing narrative-driven works while also developing creative tools for exploring digital temporality used in classrooms, workshops, and commercial releases. He has created over a dozen interactive documentaries in collaboration with leading scholars, artists, and organizations such as the Martin Luther King Jr. Research and Education Institute at Stanford University in California. Loyer’s work has been commissioned by the Museum of Contemporary Art, Los Angeles, and the San Francisco Museum of Modern Art. His work has been exhibited across the United States and Europe.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"2435","type":"exhibition","attributes":{"id":2435,"title":"artport: A History of Internet Art","start_time":"2026-11-21T00:00:00.000-05:00","end_time":"2027-03-28T00:00:00.000-04:00","member_start_time":"2026-11-19T00:00:00.000-05:00","member_end_time":"2026-11-20T00:00:00.000-05:00","date_override":"Opens Nov 21","url":"/exhibitions/artport-25","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eartport: A History of Internet Art\u003c/em\u003e marks the 25th anniversary of \u003ca href=\"/artport\"\u003eartport\u003c/a\u003e, the Whitney’s online gallery space for commissions of net art, which launched in 2001. Since its inception, artport has presented a snapshot of the varied practices artists use to engage with an ever-evolving online environment. Taking place online and in the gallery, the exhibition tells a history of the evolution of net art over a quarter century and features more than 100 works commissioned specifically for artport.\u003c/p\u003e\u003cp class=\"large\"\u003eThe exhibition presented on the Museum’s 6th Floor is structured around the three main commissioning categories of the artport website: the \u003ca href=\"/artport/gate-pages\"\u003eGate Pages\u003c/a\u003e, created from 2001 to 2006 as portals to artists’ websites; the main \u003ca href=\"/artport/commissions\"\u003eCommissions\u003c/a\u003e, which have been ongoing since 2001; and the \u003ca href=\"/artport/sunrise-sunset\"\u003eSunrise/Sunset\u003c/a\u003e series, which ran from 2009 to 2024, along with its successor, \u003ca href=\"/artport/on-the-hour\"\u003eOn the Hour\u003c/a\u003e. In the galleries, the open floor plan creates the impression of floating browser windows, bringing the history of online art into physical space.\u003c/p\u003e\u003cp class=\"large\"\u003eWorking across code, data visualization, nonlinear narrative, worldbuilding, gaming environments, and AI-driven net art, the artists in the exhibition explore how the internet has reshaped privacy, identity, self-perception, surveillance, and the boundaries between online and offline life. Together, the works offer a wide-ranging look at how artists have used the internet as both a site and a medium for artistic production.\u003c/p\u003e\u003cp class=\"large\"\u003eThe artport anniversary exhibition will include the world premiere of \u003cem\u003eHuman Unreadable Act III\u003c/em\u003e, by the artist duo Operator. This live performance is the culmination of \u003cem\u003eHuman Unreadable\u003c/em\u003e, Operator's seminal generative choreography work unfolding in three acts since 2023. \u003cem\u003eAct III\u003c/em\u003e is a multimedia performance and examination of the artists' negotiations between the body, ambition, and technology. The performances will take place in the Whitney's Susan and John Hess Family Theater on November 19, 21, and 22.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eartport: A History of Internet Art\u0026nbsp;\u003c/em\u003eis organized by Christiane Paul, Curator of Digital Art, with David Lisbon, Curatorial Assistant, and Colin Brooks, Head of Digital Development.\u003c/p\u003e\u003cp\u003eMajor support for \u003cem\u003eartport: A History of Internet Art\u003c/em\u003e is provided by the Adam D. Weinberg Artists First Fund; the Alan Howard Collection; the Alfred P. Sloan Foundation; Judy Hart Angelo; The KHR McNeely Family Foundation | Kevin, Rosemary, and Hannah Rose McNeely; and The Rosenkranz Foundation.\u0026nbsp;\u003c/p\u003e\u003cp\u003eGenerous support is provided by David and Amanda Cancel, the Generative Art Foundation, and the McCallum Family.\u003c/p\u003e\u003cp\u003eAdditional support is provided by The David Bermant Foundation.\u003c/p\u003e\u003cp\u003eThis project has benefited from major support through the onchain platform Endaoment.\u003c/p\u003e\u003cp\u003eMajor support for the catalogue is provided by the Carl \u0026amp; Marilynn Thoma Foundation.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/833870/Logo-1B-SMALL-Gold-Blue.png\" style=\" height: 60px;\"\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/833854/THOMA_Foundation-FINAL.jpg\" style=\" height: 40px;\"\u003e\u003c/p\u003e","primary_media_id":65359,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.9732142857142857,"created_at":"2026-06-23T12:33:12.949-04:00","updated_at":"2026-08-06T11:05:02.444-04:00","block_editor":{"data":{"id":"6087","type":"block_editor","attributes":{"id":6087,"exhibition_id":2435,"page_id":null,"created_at":"2026-06-23T12:33:12.946-04:00","updated_at":"2026-06-23T12:33:12.946-04:00","regions":[]}}}}},{"id":"2421","type":"exhibition","attributes":{"id":2421,"title":"Taína H. Cruz: I Saw the Future and It Smiled Back","start_time":"2026-03-08T00:00:00.000-05:00","end_time":"2026-09-21T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/taina-h-cruz","primary_text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eThis artwork is featured on the building facade on Gansevoort Street across from the Whitney and the High Line.\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003eGraffiti is a major inspiration for Taína H. Cruz’s (b. 1998, New York, NY) paintings and drawings, including those she created on-site on one of the Whitney’s fifth-floor gallery walls for the 82nd edition of the \u003ca href=\"/exhibitions/2026-biennial\"\u003eMuseum’s Biennial\u003c/a\u003e. Her work, \u003cem\u003eI Saw the Future and It Smiled Back\u003c/em\u003e, on the Gansevoort Street billboard, reflects a child-like sense of newness and anticipation.\u003c/p\u003e\u003cp class=\"large\"\u003eThis work is part of \u003cem\u003eWhitney Biennial 2026\u003c/em\u003e.\u003c/p\u003e\u003cp\u003eThis project is made possible by the Whitney Museum of American Art, TF Cornerstone, and the High Line.\u003c/p\u003e\u003cp\u003e\u003cem\u003eTaína\u0026nbsp;Cruz: I Saw the Future and It Smiled Back\u003c/em\u003e is part of Outside of the Box programming, which is supported by a generous endowment from the Jacques and Natasha Gelman Foundation.\u003c/p\u003e","primary_media_id":64600,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.9345238095238095,"created_at":"2026-02-25T16:10:36.358-05:00","updated_at":"2026-08-04T09:51:05.135-04:00","block_editor":{"data":{"id":"5987","type":"block_editor","attributes":{"id":5987,"exhibition_id":2421,"page_id":null,"created_at":"2026-02-25T16:10:36.355-05:00","updated_at":"2026-02-25T16:10:36.355-05:00","regions":[]}}}}},{"id":"1099","type":"exhibition","attributes":{"id":1099,"title":"Jonah Brucker-Cohen: BumpList: An Email Community for the Determined","start_time":"2003-06-01T00:00:00.000-04:00","end_time":"2003-06-30T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"June 2003","url":"/exhibitions/jonah-brucker-cohen","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eBumpList: An Email Community for the Determined\u0026nbsp;\u003c/em\u003eby \u003ca href=\"/artists/8939\"\u003eJonah Brucker-Cohen\u003c/a\u003e is a mailing list with limited membership that challenges the rules and culture of online email forums. Only six people can be members at once. When a new person subscribes, the first is “bumped,” or removed, from the list. \u003cem\u003eBumpList\u003c/em\u003e encourages people to resubscribe repeatedly if they are bumped off, reflecting the urgency of networked communication platforms in pressuring people to participate and engage in their contents. By attaching simple rules to this communication medium, \u003cem\u003eBumpList\u003c/em\u003e highlights the behaviors engendered by online connection, as well as the mandate of mailing lists to maintain ties within groups and forge a sense of community across borders.\u003c/p\u003e\u003cp class=\"large\"\u003eTechnical/Concept: Mike Bennett\u003c/p\u003e","primary_media_id":56383,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.3273809523809524,"created_at":"2023-09-05T20:37:26.471-04:00","updated_at":"2026-08-04T09:49:37.394-04:00","block_editor":{"data":{"id":"3707","type":"block_editor","attributes":{"id":3707,"exhibition_id":1099,"page_id":null,"created_at":"2025-06-16T12:38:19.238-04:00","updated_at":"2025-06-16T12:38:19.238-04:00","regions":[{"data":{"id":"24147","type":"region","attributes":{"id":24147,"position":1,"columns":12,"block_editor_id":3707,"created_at":"2026-04-07T09:25:00.059-04:00","updated_at":"2026-04-07T09:45:32.836-04:00","region_components":[{"data":{"id":"44416","type":"region_component","attributes":{"id":44416,"component_id":15928,"component_type":"TextComponent","position":1,"region_id":24147,"created_at":"2026-04-07T09:25:00.100-04:00","updated_at":"2026-04-07T09:45:32.846-04:00","component":{"data":{"id":"15928","type":"component","attributes":{"id":15928,"exhibition_id":1099,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eJonah Brucker-Cohen\u003c/strong\u003e (b. 1975; Washington, District of Columbia) is a researcher, artist, writer, and associate professor of digital media and networked culture at Lehman College, City University of New York. He received his PhD in disruptive design from Trinity College, Dublin. His work focuses on deconstructing networks and includes more than one hundred creative projects that critically challenge and subvert accepted perceptions of network interaction and experience. His work has been exhibited at venues such as the Whitney Museum of American Art and the Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Tate Modern and the Institute of Contemporary Arts, London; Palais de Tokyo, Paris; Ars Electronica, Linz, Austria; Transmediale, Berlin; and ZKM Center for Art and Media Karlsruhe, Germany; among others.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"2323","type":"exhibition","attributes":{"id":2323,"title":"Sonya Kelliher-Combs: TITIQ/MARK","start_time":"2027-02-06T00:00:00.000-05:00","end_time":"2027-09-01T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"Opens Feb 6, 2027","url":"/exhibitions/sonya-kelliher-combs","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eSonya Kelliher-Combs: TITIQ/MARK\u003c/em\u003e highlights nearly two decades of the artist’s explorations of history, cultural continuity, self-determination, and land use through her inventive approaches to artmaking. An Iñupiaq and Koyukon artist based in Anchorage, Alaska, \u003ca href=\"/artists/19839\"\u003eKelliher-Combs\u003c/a\u003e (b. 1969) makes paintings, sculptures, and installations that are deeply informed by generational knowledge. The Iñupiaq word “TITIQ,” which translates to \"MARK\" in English, carries multiple meanings, including the visible and invisible marks of colonialism, as well as the physical mark-making essential to Kelliher-Combs’s practice. The exhibition, which is the artist’s first solo museum show in New York, foregrounds her use of repetition and seriality and includes examples from ongoing bodies of work, such as \u003cem\u003eCurls\u003c/em\u003e, \u003cem\u003eRemnants\u003c/em\u003e, \u003cem\u003eIdiot Strings\u003c/em\u003e, and \u003cem\u003eSecrets\u003c/em\u003e. \u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eKelliher-Combs uses a wide range of artistic mediums, including marine mammal gut, paint, hair, fabric, animal hide, thread, and her own innovations with acrylic polymer. The exhibition will highlight the breadth of these experimentations while grounding her practice in traditional methods of production, like gut processing and sewing. As the first mid-career survey of an Indigenous artist at the Whitney, \u003cem\u003eTITIQ/MARK\u003c/em\u003e expands the Museum’s commitment to presenting a fuller picture of contemporary American art and is an unprecedented opportunity to share the material culture of the Bering Strait region with our audiences, underscoring its ongoing importance in Indigenous communities today.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eSonya Kelliher-Combs: TITIQ/MARK\u003c/em\u003e is co-organized by the Whitney Museum of American Art, New York, and the Anchorage Museum. The exhibition is co-curated by Jennie Goldstein, Marion Boulton “Kippy” Stroud Curator of the Collection, Whitney Museum of American Art, and Julie Decker, Director/CEO, Anchorage Museum, with Rose Pallone, Curatorial Assistant, Whitney Museum of American Art.\u003c/p\u003e\u003cp\u003eMajor support for \u003cem\u003eSonya Kelliher-Combs: TITIQ/MARK\u0026nbsp;\u003c/em\u003eis provided by the Adam D. Weinberg Artists First Fund, The Andy Warhol Foundation for the Visual Arts, and the Whitney’s National Committee.\u003c/p\u003e\u003cp\u003eSignificant support is provided by the Kapadia Equity Fund, Keith Haring Foundation Exhibition Fund, and Sueyun and Gene Locks.\u003c/p\u003e\u003cp\u003eCuratorial research and travel for this exhibition were funded by an endowment established by Rosina Lee Yue and Bert A. Lies, Jr., MD.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/823795/Default_Logo_AWF.jpg\" style=\" height: 40px;\"\u003e\u003c/p\u003e","primary_media_id":65370,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.9136904761904762,"created_at":"2025-12-18T01:36:54.339-05:00","updated_at":"2026-08-03T13:57:45.224-04:00","block_editor":{"data":{"id":"6095","type":"block_editor","attributes":{"id":6095,"exhibition_id":2323,"page_id":null,"created_at":"2026-06-23T12:37:16.574-04:00","updated_at":"2026-06-23T12:37:16.574-04:00","regions":[]}}}}},{"id":"265","type":"exhibition","attributes":{"id":265,"title":"R. Luke DuBois: So many journeys may the sun and moon","start_time":"2011-03-10T00:00:00.000-05:00","end_time":"2011-12-15T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/r-luke-dubois","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eSo many journeys may the sun and moon\u003c/em\u003e by \u003ca href=\"/artists/15259\"\u003eR. Luke DuBois\u003c/a\u003e, the third project in the Sunrise/Sunset series, is a piece of software art based on the works of William Shakespeare. The artist-written software locates couplets in Shakespeare's works that contain the word “sun” and “moon,” respectively. It then chooses the next word based on a database of words that follow “sun” or “moon” in the original text—a technique called a Markov chain. This choice is repeated for each word in sequence: every two words can be found together somewhere in a Shakespeare text, but the project navigates through all of Shakespeare's plays. The result reads like a never-ending remix of Shakespeare's language and metaphor, with his use of “sun” and “moon” as starting points in each sunset and sunrise sequence that is overlaid onto the pages of whitney.org. The artwork's title—taken from a couplet spoken by the Player Queen in the play-within-a-play appearing in Act III of \u003cem\u003eHamlet\u003c/em\u003e—hints at the artist's intent to explore hyper- and intertextuality within canonical cultural texts.\u003c/p\u003e","primary_media_id":7666,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.3392857142857143,"created_at":"2018-05-09T17:36:08.000-04:00","updated_at":"2026-07-31T09:54:29.842-04:00","block_editor":{"data":{"id":"2413","type":"block_editor","attributes":{"id":2413,"exhibition_id":265,"page_id":null,"created_at":"2025-06-16T12:34:36.272-04:00","updated_at":"2025-06-16T12:34:36.272-04:00","regions":[]}}}}},{"id":"2426","type":"exhibition","attributes":{"id":2426,"title":"Juan Sánchez: States of Liberation","start_time":"2027-10-01T00:00:00.000-04:00","end_time":"2028-09-01T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"Opens Fall 2027","url":"/exhibitions/juan-sanchez","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eJuan Sánchez: States of Liberation\u003c/em\u003e will be the first traveling retrospective devoted to \u003ca href=\"/artists/4068\"\u003eJuan Sánchez\u003c/a\u003e, one of the founding figures of Latinx art in the United States. For more than four decades, Sánchez has created a powerful and deeply personal body of work rooted in the histories, politics, and spiritual traditions of the working-class and Puerto Rican communities that shaped his upbringing in New York.\u003c/p\u003e\u003cp class=\"large\"\u003eAcross more than 60 works, including paintings, works on paper, photography, and video, the exhibition weaves together the narrative threads of autobiography, community, nation, and utopia. Together, these works offer a comprehensive look at Sánchez’s expansive practice and his sustained engagement with identity, collective memory, colonialism, resistance, and the possibility of social transformation.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eJuan Sánchez: States of Liberation\u003c/em\u003e is co-organized by The Whitney Museum of American Art, New York, and The Phillips Collection, Washington, DC, in collaboration with the Museo de Arte de Puerto Rico. Curated by Marcela Guerrero, DeMartini Family Curator, Whitney Museum of American Art; Tie Jojima, Curator of Global Contemporary Art, The Phillips Collection; and Alejandro Anreus, Guest Curator, with Carina Martinez, Rubio Butterfield Family Fellow, Whitney Museum of American Art.\u003c/p\u003e","primary_media_id":65586,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.9404761904761905,"created_at":"2026-04-02T06:00:23.417-04:00","updated_at":"2026-07-30T11:48:12.015-04:00","block_editor":{"data":{"id":"6103","type":"block_editor","attributes":{"id":6103,"exhibition_id":2426,"page_id":null,"created_at":"2026-07-22T11:51:55.709-04:00","updated_at":"2026-07-22T11:51:55.709-04:00","regions":[]}}}}},{"id":"2437","type":"exhibition","attributes":{"id":2437,"title":"Farah Al Qasimi: TAILSPIN","start_time":"2027-01-30T00:00:00.000-05:00","end_time":"2027-08-01T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"Opens Jan 30, 2027","url":"/exhibitions/farah-al-qasimi","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eFarah Al Qasimi: TAILSPIN\u0026nbsp;\u003c/em\u003etakes its title from the featured video work, \u003cem\u003eTAILSPIN\u003c/em\u003e. Filmed in between Michigan, West Texas, and the East Coast, the work traces the long-standing relationship between American industry, oil, car culture, and Arab immigration.\u003c/p\u003e\u003cp class=\"large\"\u003eTold from the perspective of a jinn, or spirit, the work combines fictionalized storytelling, documentary-style footage, and real testimony to explore the complexities of identity-building in post-9/11 America. The film unfolds through auto shops, living rooms, restaurants, and the swamplands of the Rouge River, revealing layered histories of migration, industry, community, and belonging.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eFarah Al Qasimi: TAILSPIN\u003c/em\u003e is organized by Drew Sawyer, Sondra Gilman Curator of Photography, and Kelly Long, Assistant Curator.\u003c/p\u003e","primary_media_id":65588,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.8988095238095238,"created_at":"2026-06-23T12:36:28.741-04:00","updated_at":"2026-07-30T11:47:51.086-04:00","block_editor":{"data":{"id":"6093","type":"block_editor","attributes":{"id":6093,"exhibition_id":2437,"page_id":null,"created_at":"2026-06-23T12:36:28.736-04:00","updated_at":"2026-06-23T12:36:28.736-04:00","regions":[]}}}}},{"id":"1425","type":"exhibition","attributes":{"id":1425,"title":"Christine Sun Kim: All Day All Night","start_time":"2025-02-08T00:00:00.000-05:00","end_time":"2025-09-28T00:00:00.000-04:00","member_start_time":"2025-02-05T00:00:00.000-05:00","member_end_time":"2025-02-07T00:00:00.000-05:00","date_override":"","url":"/exhibitions/christine-sun-kim-all-day-all-night","primary_text":"\u003cp class=\"large\"\u003eIn works full of sharp wit and incisive commentary, \u003ca href=\"/artists/18616\"\u003eChristine Sun Kim\u003c/a\u003e (b. 1980, Orange County, California) engages sound and the complexities of communication in its various modes. Using musical notation, infographics, and language—both in her native American Sign Language (ASL) and written English—she has produced drawings, videos, sculptures, and installations that often explore non-auditory, political dimensions of sound. In many works, Kim draws directly on the spatial dynamism of ASL, translating it into graphic form. By emphasizing images, the body, and physical space, she upends the societal assumption that spoken languages are superior to those that are signed.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition surveys Kim’s entire artistic output to date and features works ranging from early 2010s performance documentation to her recent site-responsive mural, \u003cem\u003eGhost(ed) Notes\u0026nbsp;\u003c/em\u003e(2024), re-created across multiple walls on the eighth floor. Inspired by similarly named works made throughout her career, the exhibition’s title, \u003cem\u003eAll Day All Night\u003c/em\u003e, points to the vitality Kim brings to her artmaking; she is relentlessly experimental, productive, and dedicated to sharing her Deaf lived experiences with others.\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition is organized by the Whitney Museum of American Art, New York, and the Walker Art Center, Minneapolis. The organizing curators are Jennie Goldstein, Jennifer Rubio Associate Curator of the Collection, Whitney Museum of American Art; Pavel Pyś, Curator of Visual Arts and Collections Strategy, Walker Art Center; and Tom Finkelpearl, independent curator; with Rose Pallone, Curatorial Assistant, Whitney Museum of American Art, and Brandon Eng, Curatorial Assistant, Walker Art Center.\u003c/p\u003e\u003cp\u003eMajor support for \u003cem\u003eChristine Sun Kim: All Day All Night\u0026nbsp;\u003c/em\u003eis provided by the Ford Foundation, Teiger Foundation, the Terra Foundation for American Art, and the Andy Warhol Foundation for the Visual Arts.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/830693/large_Ford-single-black.jpg\" style=\"height: 20px;\"\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/831385/large_Untitled-2-copy.jpg\" style=\"height: 35px;\"\u003e\u0026nbsp; \u0026nbsp; \u003cimg src=\"https://whitneymedia.org/assets/image/818156/TER_Primary_Lockup_Small.jpg\" style=\"height: 35px;\"\u003e\u0026nbsp; \u0026nbsp; \u003cimg src=\"https://whitneymedia.org/assets/image/823795/Default_Logo_AWF.jpg\" style=\" height: 35px;\"\u003e\u003c/p\u003e\u003cp\u003eSignificant support is provided by the Korea Foundation.\u003c/p\u003e\u003cp\u003eIn New York, the exhibition is sponsored by\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/831770/large_EPS-and-AI-Files-for-Graphic-Designersmetlife_eng_logo_cmyk.jpg\" style=\"height: 40px;\"\u003e\u003c/p\u003e\u003cp\u003eMajor support is provided by Judy Hart Angelo and the Whitney’s National Committee.\u003c/p\u003e\u003cp\u003eSignificant support is provided by Marcia Dunn and Jonathan Sobel, the John R. Eckel, Jr. Foundation, Miyoung Lee and Neil Simpkins, and Sueyun and Gene Locks.\u003c/p\u003e\u003cp\u003eGenerous support is provided by Deutsche Bank Americas Foundation, Further Forward Foundation, Peter H. Kahng, the Samsung Foundation of Culture, and Sonya Yu.\u003c/p\u003e\u003cp\u003eAdditional support is provided by Jessica and Marwan Bitar, The Cowles Charitable Trust, The Freedman Family, Girlfriend Fund, Suzanne McFayden, Alice and Manu Sareen, Lisa Perry/Onna House, Gina H. Sohn and Gregory P. Lee, Jackson Tang, and an anonymous donor.\u003c/p\u003e","primary_media_id":63457,"override_media_id":61959,"sign_media_id":61461,"feature_id":101,"artwork_series_id":null,"installation_series_id":2642,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“Christine Sun Kim shines light on Deaf culture and measures sonic experience beyond the ear.” —\u003ca href=\"https://www.nytimes.com/2025/02/14/arts/design/christine-sun-kim-artist.html\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Kim’s Whitney survey is the first major museum show to allow an artist confronting disability to be as expansive as she is…”\u0026nbsp;—\u003ca href=\"https://www.artnews.com/art-in-america/aia-reviews/christine-sun-kim-whitney-museum-1234731856/\"\u003e\u003cem\u003eArt in America\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...pushes the bounds of language and upends notions about how we connect with one another.”\u0026nbsp;—\u003ca href=\"https://www.wsj.com/arts-culture/fine-art/christine-sun-kim-all-day-all-night-review-lines-of-communication-at-the-whitney-airdigital-77dacfeb?mod=arts-culture_lead_pos1\"\u003e\u003cem\u003eThe Wall Street Journal\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...explores the social currency of sound and its exclusionary effects.”\u0026nbsp;\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.ssense.com/en-us/editorial/fashion/christine-sun-kim-artist-whitney-all-day-all-night\"\u003e\u003cem\u003eSSENSE\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...feels thorough, insightful and composed…”\u0026nbsp;—\u003ca href=\"https://www.theguardian.com/artanddesign/2025/feb/06/christine-sun-kim-whitney-exhibition-new-york\"\u003e\u003cem\u003eThe Guardian\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...fascinating and thought-provoking as it is expansive.”\u0026nbsp;\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://news.artnet.com/art-world/christine-sun-kim-all-day-all-night-whitney-museum-2606537\"\u003e\u003cem\u003eArtnet News\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...like a kind of revenge on a society that has long passed over disabled artists… revenge at its most gripping.” \u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.vulture.com/article/the-exhilarating-anger-of-christine-sun-kim.html\"\u003e\u003cem\u003eNew York Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...groundbreaking exhibition – utilizing sound, language, and the nuances and challenges of communication…”\u0026nbsp;\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.forbes.com/sites/natashagural/2025/02/06/christine-sun-kim-all-day-all-night-at-the-whitney-will-transform-your-perception-of-the-death-community/\"\u003e\u003cem\u003eForbes\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“New Yorkers, don’t miss Christine Sun Kim’s first museum survey…” \u0026nbsp;\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.anothermag.com/design-living/16132/films-exhibitions-food-and-more-brilliant-things-to-do-this-february\"\u003e\u003cem\u003eAnOther\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...perceptive, poetic, humorous, and political.”\u0026nbsp;\u0026nbsp;\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://ocula.com/magazine/art-news/artists-celebrated-in-major-museum-surveys-in-2025/\"\u003e\u003cem\u003eOcula\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...expresses how sound operates in society as social currency and deconstructs the politics of sound in a witty manner.”\u0026nbsp;\u0026nbsp;\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.koreaherald.com/article/10415504\"\u003e\u003cem\u003eThe Korea Herald\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...a homecoming of sorts…”\u0026nbsp;\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://robbreport.com/shelter/art-collectibles/in-the-studio-with-christine-sun-kim-1236164748/\"\u003e\u003cem\u003eRobb Report\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...the expansive retrospective shines a light on Kim’s exploration of Deaf lived experiences…” \u0026nbsp;\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://hypebeast.com/2024/11/christine-sun-kim-retrospective-exhibition-whitney-museum-new-york\"\u003e\u003cem\u003eHypebeast\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...iterates…how wondrous, devastating, exhausting, not enough, too much, funny, and beautiful language can be.”\u0026nbsp;—\u003ca href=\"https://hyperallergic.com/991566/christine-sun-kim-multidimensional-music-whitney-museum/\"\u003e\u003cem\u003eHyperallergic\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...underscores the ongoing need for accessible and inclusive cultural spaces…”\u0026nbsp;—\u003cem\u003e\u003ca href=\"https://ocula.com/magazine/insights/unmissable-christine-sun-kim-at-whitney-museum/\"\u003eOcula\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“...alert[s] us to the nuances and poetry, the joy and bitterness of living in, and also outside, the hearing world.” \u0026nbsp;—\u003ca href=\"https://www.ft.com/content/b054daa2-d401-460c-affd-79b482bef903\"\u003e\u003cem\u003eFinancial Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Kim's trademark wit abounds as she explores the politics of sound, and the visual-spatial modality of her native ASL.”\u0026nbsp;—\u003ca href=\"https://www.harpersbazaar.com/culture/art-books-music/a63975503/christine-sun-kim-lauren-ridloff-nyle-dimarco-interview/\"\u003e\u003cem\u003eHarper’s Bazaar\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Go now—it’s a triumph.”\u0026nbsp;—\u003ca href=\"https://www.culturedmag.com/article/2025/03/05/new-york-christine-sun-kim-sylvia-sleigh-chris-oh\"\u003e\u003cem\u003eCultured\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“[Kim] is on a whole different level”\u0026nbsp;—\u003ca href=\"https://www.interviewmagazine.com/art/artist-christine-sun-kim-doesnt-want-to-be-your-inspiration-pornstar\"\u003e\u003cem\u003eInterview Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"","videos_description":"","popularity":0.9285714285714286,"created_at":"2025-01-16T10:29:39.106-05:00","updated_at":"2026-07-30T09:43:16.986-04:00","block_editor":{"data":{"id":"4239","type":"block_editor","attributes":{"id":4239,"exhibition_id":1425,"page_id":null,"created_at":"2025-06-16T12:38:29.345-04:00","updated_at":"2025-06-16T12:38:29.345-04:00","regions":[{"data":{"id":"22419","type":"region","attributes":{"id":22419,"position":1,"columns":6,"block_editor_id":4239,"created_at":"2025-03-13T17:04:44.452-04:00","updated_at":"2026-04-01T14:30:05.962-04:00","region_components":[{"data":{"id":"40860","type":"region_component","attributes":{"id":40860,"component_id":14065,"component_type":"MediaComponent","position":1,"region_id":22419,"created_at":"2025-03-13T17:04:44.467-04:00","updated_at":"2026-04-01T14:30:05.970-04:00","component":{"data":{"id":"14065","type":"component","attributes":{"id":14065,"exhibition_id":1425,"media_id":61973,"url":""}}}}}}]}}},{"data":{"id":"22420","type":"region","attributes":{"id":22420,"position":2,"columns":6,"block_editor_id":4239,"created_at":"2025-03-13T17:04:44.474-04:00","updated_at":"2026-04-01T14:30:05.977-04:00","region_components":[{"data":{"id":"40861","type":"region_component","attributes":{"id":40861,"component_id":14870,"component_type":"TextComponent","position":1,"region_id":22420,"created_at":"2025-03-13T17:04:44.490-04:00","updated_at":"2026-04-01T14:30:05.985-04:00","component":{"data":{"id":"14870","type":"component","attributes":{"id":14870,"exhibition_id":1425,"text":"\u003ch3\u003eActivity guide\u003c/h3\u003e\u003cp class=\"large\"\u003eAn activity guide filled with projects that Kim made with the Whitney's Education Department. The projects respond to works in the exhibition that you can enjoy during your visit!\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"934","type":"exhibition","attributes":{"id":934,"title":"Dawoud Bey: An American Project","start_time":"2021-04-17T00:00:00.000-04:00","end_time":"2021-10-03T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/dawoud-bey","primary_text":"\u003cp class=\"large\"\u003eSince the mid-1970s, \u003ca href=\"/artists/4040\"\u003eDawoud Bey\u003c/a\u003e (b. 1953) has worked to expand upon what photography can and should be. Insisting that it is an ethical practice requiring collaboration with his subjects, he creates poignant meditations on visibility, power, and race. Bey chronicles communities and histories that have been largely underrepresented or even unseen, and his work lends renewed urgency to an enduring conversation about what it means to represent America with a camera.\u003c/p\u003e\u003cp class=\"large\"\u003eSpanning from his earliest street portraits in Harlem to his most recent series imagining an escape from slavery on the Underground Railroad, \u003cem\u003eDawoud Bey: An American Project\u003c/em\u003e attests to the artist’s profound engagement with the Black subject. He is deeply committed to the craft of photography, drawing on the medium's specific tools, processes, and materials to amplify the formal, aesthetic, and conceptual goals of each body of work. Bey views photography not only as a form of personal expression but as an act of political responsibility, emphasizing the necessary and ongoing work of artists and institutions to break down obstacles to access, convene communities, and open dialogues.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eDawoud Bey: An American Project\u003c/em\u003e is co-organized by the Whitney Museum of American Art and the San Francisco Museum of Modern Art. The exhibition is co-curated by Elisabeth Sherman, Assistant Curator at the Whitney, and Corey Keller, Curator of Photography at SFMOMA.\u003c/p\u003e\u003cp\u003eGenerous support for \u003cem\u003eDawoud Bey: An American Project\u003c/em\u003e is provided by The Andy Warhol Foundation for the Visual Arts.\u003c/p\u003e\u003cp\u003eSignificant support is provided by the Phillip and Edith Leonian Foundation and the National Endowment for the Arts.\u003c/p\u003e\u003cp\u003eIn New York, the exhibition is sponsored by\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824959/bofa_lo1_rgb_Digital.png\" style=\"height:20px;\"\u003e\u003c/p\u003e\u003cp\u003eGenerous support is provided by Judy Hart Angelo, the John R. Eckel, Jr. Foundation, and the Whitney’s National Committee.\u003c/p\u003e\u003cp\u003eMajor support is provided by the Philip and Janice Levin Foundation.\u003c/p\u003e\u003cp\u003eSignificant support is provided by The Anne Levy Charitable Trust and Jean L. Karotkin and public funds from the New York City Department of Cultural Affairs in partnership with the City Council.\u0026nbsp;\u003c/p\u003e\u003cp\u003eAdditional support is provided by Susan and Arthur Fleischer, Gregory and Aline Gooding, Renee Harbers and Christopher Liddell, Marina and Andrew Lewin, Wynnell Schrenk, and Patricia Villareal and Tom Leatherbury.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/823795/Default_Logo_AWF.jpg\" style=\"height:35px;\"\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/823524/large_2018-LogoBW-Horizontal.jpg\" style=\"height:30px;\"\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/819329/medium_dclaLogo_black_2.jpg\" style=\"height:20.5px;\"\u003e\u003c/p\u003e","primary_media_id":46458,"override_media_id":49415,"sign_media_id":null,"feature_id":37,"artwork_series_id":null,"installation_series_id":2434,"perspective_series_id":null,"press_highlights":"\u003cp\u003e\"The retrospective . . . is a testament to [Bey's] photographs’ apparent timelessness.\"—\u003ca href=\"https://www.wmagazine.com/culture/dawoud-bey-whitney-museum-show\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eW Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"In his street photographs and portraits Bey achieves a rare degree of connection with his subjects.\"—\u003ca href=\"https://www.bostonglobe.com/2021/08/12/arts/matter-viewer-dawoud-bey-an-american-project-whitney-museum-american-art/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eBoston Globe\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Every image is a highlight of a prolific career that examines the various processes of photography as painstakingly as it explores and exposes the human condition.\"—\u003ca href=\"https://www.forbes.com/sites/natashagural/2021/06/30/take-an-assiduous-look-at-dawoud-beys-gripping-portraits-at-the-whitney/?ss=arts\u0026sh=3a08b32826b7\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eForbes\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"American photographer Dawoud Bey displays his uncanny ability to get under the skin of his subjects.\"—\u003ca href=\"https://www.theguardian.com/artanddesign/2021/apr/11/the-big-picture-stepping-out-in-style\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe Guardian\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"There’s a warmth that’s intrinsic to Bey’s acts of portrait-making.\"—\u003ca href=\"https://www.newyorker.com/culture/photo-booth/the-timeless-pleasures-of-dawoud-beys-street-portraits\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New Yorker\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\". . . Bey understands that the collective aches we feel today are the remnants of yesterday’s agony . . .\"—\u003ca href=\"https://www.vulture.com/article/dawoud-bey-photo-whitney-retrospective.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eNew York Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":null,"videos_description":null,"popularity":0.7916666666666666,"created_at":"2021-02-11T18:11:17.548-05:00","updated_at":"2026-07-30T09:43:16.953-04:00","block_editor":{"data":{"id":"3577","type":"block_editor","attributes":{"id":3577,"exhibition_id":934,"page_id":null,"created_at":"2025-06-16T12:38:13.168-04:00","updated_at":"2025-06-16T12:38:13.168-04:00","regions":[]}}}}},{"id":"293","type":"exhibition","attributes":{"id":293,"title":"Rachel Harrison Life Hack","start_time":"2019-10-25T00:00:00.000-04:00","end_time":"2020-01-12T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/rachel-harrison","primary_text":"\u003cp class=\"large\"\u003eRachel Harrison’s (b. 1966) first full-scale survey will track the development of her career over the past twenty-five years, incorporating room-size installations, autonomous sculpture, photography, and drawing. Harrison's complex works—in which readymades collude with invented forms—bring together the breadth of art history, the impurities of politics, and the artifacts of pop and celebrity culture. The exhibition will include approximately one hundred works spanning the early 1990s to the present, drawn from private and public collections throughout the world.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition is organized by Elisabeth Sussman, Curator and Sondra Gilman Curator of Photography, and David Joselit, Distinguished Professor, Graduate Center, City University of New York, with Kelly Long, curatorial assistant.\u003c/p\u003e\u003cp\u003eMajor support for \u003cem\u003eRachel Harrison Life Hack\u003c/em\u003e is provided by The Andy Warhol Foundation for the Visual Arts and the Whitney’s National Committee.\u003c/p\u003e\u003cp\u003eGenerous support is provided by Candy and Michael Barasch and The Morris A. Hazan Family Foundation, Sueyun and Gene Locks, and Susan and Larry Marx.\u003c/p\u003e\u003cp\u003eSignificant support is provided by Constance R. Caplan, Fotene Demoulas and Tom Coté, Krystyna Doerfler, The Keith Haring Foundation Exhibition Fund, Ashley Leeds and Christopher Harland, Han Lo, Diane and Adam E. Max, and Chara Schreyer.\u003c/p\u003e\u003cp\u003eAdditional support is provided by Eleanor Cayre, Suzanne and Bob Cochran, The Cowles Charitable Trust, Rebecca and Martin Eisenberg, Wilma and Howard Kaye, and Emily Rauh Pulitzer.\u003c/p\u003e\u003cp\u003eGenerous exhibition production support is provided by Greene Naftali, New York, with additional support from Regen Projects, Los Angeles.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/823795/Default_Logo_AWF.jpg\" style=\"height:45px;\" alt=\"Warhol Foundation\"\u003e\u003c/p\u003e","primary_media_id":39950,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2259,"perspective_series_id":null,"press_highlights":"\u003cp\u003e\"Brainy, funny, eye-catching, and compellingly strange, the sculptures and installations of the New York-based mid-career artist Rachel Harrison are some of the most influential American art works of the past quarter century.\" —\u003ca href=\"https://www.newyorker.com/magazine/2019/08/26/fall-2019-art-preview\"\u003e\u003cem\u003eThe New Yorker\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"In undoing expectations of what art should look like, of how it should tidy up the world, the work eats through definitions of art and non-art like a rat burrowing through museum insulation. There is plenty of humor here, but the laughter is dark.\"\u003cem\u003e\u0026nbsp;—\u003c/em\u003e\u003ca href=\"https://www.washingtonpost.com/entertainment/museums/the-acclaimed-exasperating-sculptures-of-rachel-harrison-get-a-star-turn-at-the-whitney-museum/2019/12/12/2e5c2e4c-1aa4-11ea-87f7-f2e91143c60d_story.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe Washington Post\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"While countless artists today take up the legacy of assemblage, few do it with as much panache as Rachel Harrison.\" —\u003cem\u003eArt in America\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"The artist’s first museum survey and its catalogue will present twenty-five years of her sculptures, installations, drawings, and photographs, taking stock of how and why her gloriously unsettling and invigorating work \u003cem\u003eworks.\"\u003c/em\u003e \u003cem\u003e—\u003c/em\u003e\u003cem\u003eArtforum\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"The New York artist’s tipsy combos of household hardware, distressed furniture and cement-coated Styrofoam lumps add up to a kind of post-Costco Surrealism. Its character is goofy, sinister, and complex. She’s major.\"\u003cem\u003e\u0026nbsp;—\u003c/em\u003e\u003ca href=\"https://www.nytimes.com/2019/09/09/arts/design/art-exhibitions-inclusion.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Incorporating diverse materials—sneakers, ropes, jars—her sculptures are puzzles; her first full-career survey, featuring some 100 works, will offer lots to ponder.\"\u003cem\u003e\u0026nbsp;—\u003c/em\u003e\u003ca href=\"http://www.artnews.com/2019/09/12/fall-preview-moma-reopening-leonardo/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eArtNews\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003e\"Rachel Harrison Life Hack\u0026nbsp;\u003c/em\u003eis less a staid representation of her masterpieces and more an audacious, rambunctious artwork all in itself.\" —\u003ca href=\"https://www.interviewmagazine.com/art/artist-rachel-harrison-and-actor-matt-dillon-confront-their-own-worst-critics\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eInterview Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Famous for humorous, electric-colored mashups that draw deeply on pop culture, Harrison creates a complex language that’s singularly her own.\" —\u003ca href=\"https://www.culturedmag.com/rachel-harrison/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eCultured\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Harrison's complex works—in which readymades collude with invented forms—bring together the breadth of art history, the impurities of politics, and the artifacts of pop and celebrity culture.\"\u003cem\u003e\u0026nbsp;—\u003c/em\u003e\u003ca href=\"https://www.artdependence.com/articles/whitney-museum-opens-rachel-harrison-life-hack/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eArtDependence Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Harrison encourages us all to become avid hoarders, glimpsers of random moments and strange possibilities.\" —\u003ca href=\"https://garage.vice.com/en_us/article/mbmwxb/put-a-wig-on-it\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eGarage\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Rachel Harrison’s midcareer survey at the Whitney Museum includes pieces that defy description. You feel things will come clear if you just hang out longer. And people do.\"\u003cem\u003e\u0026nbsp;—\u003c/em\u003e\u003ca href=\"https://www.nytimes.com/2019/11/14/arts/design/rachel-harrison-review-whitney-museum.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"As a sculptor, Harrison is playful, tough, funny, a visually promiscuous found-object maven whose aesthetic is rooted in the double-take.\"\u003cem\u003e\u0026nbsp;—\u003c/em\u003e\u003ca href=\"https://lareviewofbooks.org/article/real-life-rock-top-10-december-2019/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eLos Angeles Review of Books\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":null,"videos_description":null,"popularity":0.5148809523809523,"created_at":"2018-10-17T15:59:49.000-04:00","updated_at":"2026-07-30T09:43:16.883-04:00","block_editor":{"data":{"id":"2457","type":"block_editor","attributes":{"id":2457,"exhibition_id":293,"page_id":null,"created_at":"2025-06-16T12:34:38.853-04:00","updated_at":"2025-06-16T12:34:38.853-04:00","regions":[{"data":{"id":"22186","type":"region","attributes":{"id":22186,"position":1,"columns":6,"block_editor_id":2457,"created_at":"2025-02-19T09:52:01.869-05:00","updated_at":"2025-02-19T09:52:01.869-05:00","region_components":[{"data":{"id":"40459","type":"region_component","attributes":{"id":40459,"component_id":11,"component_type":"JumplinkComponent","position":1,"region_id":22186,"created_at":"2025-02-19T09:52:01.877-05:00","updated_at":"2025-02-19T09:52:01.889-05:00","component":{"data":{"id":"11","type":"component","attributes":{"id":11,"exhibition_id":293,"text":"Catalogue"}}}}}},{"data":{"id":"40460","type":"region_component","attributes":{"id":40460,"component_id":14724,"component_type":"TextComponent","position":2,"region_id":22186,"created_at":"2025-02-19T09:52:01.893-05:00","updated_at":"2025-02-19T09:52:01.904-05:00","component":{"data":{"id":"14724","type":"component","attributes":{"id":14724,"exhibition_id":293,"text":"\u003ch2\u003e\u003ca href=\"https://shop.whitney.org/rachel-harrison-life-hack.html\"\u003eExhibition Catalogue\u003c/a\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003eThis publication, the first comprehensive monograph on Harrison in nearly a decade, centers on an in-depth plate section that doubles as a chronology of her major works, series, and exhibitions. The book also includes six accompanying essays, covering Harrison’s earliest works to her most recent output, and a handful of photo-collages that the artist created specifically for this project, published here for the first time.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca class=\"btn\" href=\"https://shop.whitney.org/rachel-harrison-life-hack.html\"\u003eBuy Now\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"22187","type":"region","attributes":{"id":22187,"position":2,"columns":6,"block_editor_id":2457,"created_at":"2025-02-19T09:52:01.910-05:00","updated_at":"2025-02-19T09:52:01.910-05:00","region_components":[{"data":{"id":"40461","type":"region_component","attributes":{"id":40461,"component_id":13953,"component_type":"MediaComponent","position":1,"region_id":22187,"created_at":"2025-02-19T09:52:01.918-05:00","updated_at":"2025-02-19T09:52:01.926-05:00","component":{"data":{"id":"13953","type":"component","attributes":{"id":13953,"exhibition_id":293,"media_id":43728,"url":null}}}}}}]}}}]}}}}},{"id":"1019","type":"exhibition","attributes":{"id":1019,"title":"Ruth Asawa Through Line","start_time":"2023-09-16T00:00:00.000-04:00","end_time":"2024-01-15T00:00:00.000-05:00","member_start_time":"2023-09-13T00:00:00.000-04:00","member_end_time":"2023-09-14T00:00:00.000-04:00","date_override":"","url":"/exhibitions/ruth-asawa-through-line","primary_text":"\u003cp class=\"large\"\u003eFor \u003ca href=\"/artists/34\"\u003eRuth Asawa\u003c/a\u003e (1926–2013), drawing served as a center of gravity—the activity she described as her \"greatest pleasure and the most difficult.\" Although now widely recognized for her wire sculptures, Asawa drew daily. Her exploratory approach to materials, line, surface, and space yielded an impressive range of drawings that speaks to her playful curiosity and technical dexterity as well as her interest in the aesthetic possibilities of the everyday.\u003c/p\u003e\u003cp class=\"large\"\u003eFrom her upbringing on her family's farm in Southern California, where Asawa dreamily traced shapes along dirt roads in between chores and attended weekly calligraphy lessons, drawing became the foundation of her creative life. When her family was forced to leave their home in 1942 as part of the US government's World War II isolation policies toward Japanese Americans, the teenage Asawa found salvation in the artists who taught and supported each other in the incarceration camps. In the years that followed, as a student at the progressive Black Mountain College and throughout six decades in San Francisco, Asawa maintained a belief in the power of art to bring about a better future. This ethos guided her work as an educator, community leader, and artist.\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition highlights drawing as the through line in Asawa's work. Organized thematically and inspired by her inquisitive approach to making art, the presentation comprises more than one hundred works, many of which have never been exhibited. Together, they capture the boundless energy and generous spirit of Asawa, who believed that \"art is not a series of techniques, but an approach to learning, to questioning, and to sharing.\" \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition is co-organized by Kim Conaty, Steven and Ann Ames Curator of Drawings and Prints at the Whitney Museum of American Art, and Edouard Kopp, John R. Eckel, Jr. Foundation Chief Curator of the Menil Drawing Institute, with Scout Hutchinson, Curatorial Fellow at the Whitney Museum, and Kirsten Marples, Curatorial Associate at the Menil Drawing Institute. After the exhibition closes at the Whitney, it will travel to the Menil Drawing Institute in Houston. \u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cem\u003eRuth Asawa Through Line\u003c/em\u003e is sponsored by\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824938/Delta_c_r__2_.jpg\" alt=\"Delta\"\u003e\u003c/p\u003e\u003cp\u003eGenerous support is provided by The Andy Warhol Foundation for the Visual Arts, Judy Hart Angelo, David Bolger and the Henry Luce Foundation.\u003c/p\u003e\u003cp\u003eMajor support is provided by the Abrams Foundation; the Ellsworth Kelly Foundation in honor of the Ellsworth Kelly Centennial; the John R. Eckel, Jr. Foundation; the Jon and Mary Shirley Foundation; and Susan and Larry Marx.\u003c/p\u003e\u003cp\u003eSignificant support is provided by Christie’s, Miyoung Lee and Neil Simpkins, The Lipman Family Foundation, Nancy and Fred Poses, and an anonymous donor.\u003c/p\u003e\u003cp\u003eAdditional support is provided by Ann Ames, David Zwirner, Stephen Dull, Sheree and Jerry Friedman, and the Yurman Family Foundation.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/829134/warhol-luce-big.jpg\" style=\" height: 35px;\"\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824939/Christies_Logo_Red__1_.jpg\" style=\" height: 20px;\"\u003e\u003c/p\u003e","primary_media_id":56276,"override_media_id":null,"sign_media_id":null,"feature_id":56,"artwork_series_id":null,"installation_series_id":2604,"perspective_series_id":null,"press_highlights":"\u003cp\u003e\"Conaty shared that curating \u003cem\u003eRuth Asawa Through Line\u003c/em\u003e was not just about interfacing with wonderful artwork, but also about engaging with an inspiring life.\"\u003cem\u003e\u0026nbsp;—\u003c/em\u003e\u003ca href=\"https://www.theguardian.com/artanddesign/2023/sep/16/ruth-asawa-drawings-whitney-exhibit\"\u003e\u003cem\u003eThe Guardian\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003e\"…brings overdue attention to the artist’s work beyond her mesmerizing wire sculptures.\" —\u003ca href=\"https://www.artnews.com/feature/ruth-asawa-who-is-she-famous-works-1202697634/\"\u003e\u003cem\u003eARTnews\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"\u003cem\u003eRuth Asawa: Through Line\u003c/em\u003e, at the Whitney in New York, is the first retrospective survey of her work on paper and reveals new depths to the artist.\" —\u003ca href=\"https://www.washingtonpost.com/entertainment/art/2023/10/27/ruth-asawa-drawings-exhibit-whitney/\"\u003e\u003cem\u003eThe Washington Post\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"By centering on her graphic works, the exhibition turns its attention from Asawa's well-known wire sculptures to place drawing at the heart of her practice…The exhibition signals a remarkable shift in the estimation of the medium's importance.\" —\u003ca href=\"https://ocula.com/magazine/features/ruth-asawa-revisited-through-drawing/\"\u003e\u003cem\u003eOcula Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Ten years after her death, an artist still best known as a sculptor gets an extensive show of her sketchbooks, collages, folded paper, Greek meanders, drawings and works on gold foil.\" —\u003ca href=\"https://www.nytimes.com/2023/09/04/arts/design/art-shows-exhibits-fall.html\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"The pieces on display, many of them rarely exhibited, trace Asawa’s obsession with line, rhythm, and form to the simple pleasure of mark-making.\" —\u003ca href=\"https://hyperallergic.com/842139/hyperallergic-fall-2023-new-york-art-guide/\"\u003e\u003cem\u003eHyperallergic\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"The Whitney exhibition \u003cem\u003eRuth Asawa Through Line\u003c/em\u003e (Sept. 16) honors the artist’s daily drawing practice, highlighting the contemplations on paper of shape, light, and shadow—many made public here for the first time—which informed her airy and voluptuous wire sculptures.\"\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.newyorker.com/culture/goings-on/fall-culture-preview-what-to-see-this-season\"\u003e\u003cem\u003eThe New Yorker\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"...this exhibition traces the development of the American modernist sculptor’s distinctive visual vocabulary to her daily drawing practice.\" —\u003ca href=\"https://www.artnews.com/list/art-in-america/features/datebook-the-art-worlds-fall-happenings-to-add-to-your-calendar-1234674802/\"\u003e\u003cem\u003eArt in America\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"From her formative years at Black Mountain College to her role as an educator, Asawa’s work invites us to find the extraordinary in the everyday.\" \u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://culture.org/art-and-culture/art-events/new-york-art-exhibitions-autumn-2023/\"\u003e\u003cem\u003eCulture.org\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"","videos_description":"","popularity":0.7886904761904762,"created_at":"2022-08-17T01:32:13.768-04:00","updated_at":"2026-07-29T16:46:47.004-04:00","block_editor":{"data":{"id":"3611","type":"block_editor","attributes":{"id":3611,"exhibition_id":1019,"page_id":null,"created_at":"2025-06-16T12:38:14.969-04:00","updated_at":"2025-06-16T12:38:14.969-04:00","regions":[]}}}}},{"id":"243","type":"exhibition","attributes":{"id":243,"title":"Andy Warhol—\u003cbr\u003eFrom A to B and \u003cbr\u003eBack Again","start_time":"2018-11-12T00:00:00.000-05:00","end_time":"2019-03-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/andy-warhol","primary_text":"\u003cp class=\"large\"\u003eFew American artists are as ever-present and instantly recognizable as Andy Warhol (1928–1987). Through his carefully cultivated persona and willingness to experiment with non-traditional art-making techniques, Warhol understood the growing power of images in contemporary life and helped to expand the role of the artist in society. This exhibition—the first Warhol retrospective organized by a U.S. institution since 1989—reconsiders the work of one of the most inventive, influential, and important American artists. Building on a wealth of new materials, research and scholarship that has emerged since the artist’s untimely death in 1987, this exhibition reveals new complexities about the Warhol we think we know, and introduces a Warhol for the 21st century.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/andy-warhol/screenings\"\u003eView film screenings\u003c/a\u003e.\u003c/p\u003e","primary_media_id":39445,"override_media_id":41254,"sign_media_id":null,"feature_id":25,"artwork_series_id":null,"installation_series_id":2306,"perspective_series_id":null,"press_highlights":"\u003cp\u003e\"It explores tensions between conformity and innovation, celebrity and privacy, and examines how Warhol expressed commentary and desire in his art.\"\u003cbr\u003e—\u003ca href=\"https://www.pbs.org/newshour/show/why-andy-warhol-retrospective-has-special-resonance-in-the-instagram-age\"\u003e\u003cem\u003ePBS News Hour\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"A sweeping retrospective shows a personal side of the Pop master — his hopes, fears, faith — and reasserts his power for a new generation.\"\u003cbr\u003e—\u003ca href=\"https://www.nytimes.com/2018/11/08/arts/design/warhol-review-donna-de-salvo-whitney-museum-celebrity-portrait.html?rref=collection%2Fsectioncollection%2Farts\u0026action=click\u0026contentCollection=arts\u0026region=rank\u0026module=package\u0026version=highlights\u0026contentPlacement=1\u0026pgtype=sectionfront\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“It can be guaranteed that 'From A to B and Back Again' will prove an inescapable cultural event. It also promises an equal intellectual bonanza.”\u003cbr\u003e—\u003ca href=\"https://www.artforum.com/print/previews/201807/andy-warhol-from-a-to-b-and-back-again-76328\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eArtforum\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“'To humanize Warhol and get people to actually look at what he made is not as easy as it might sound.’ Now Ms. De Salvo is tackling that challenge in 'Andy Warhol—From A to B and Back Again,' the first Warhol retrospective organized by a United States museum since 1989.”\u003cem\u003e\u003cbr\u003e—\u003ca href=\"https://www.nytimes.com/2018/06/19/arts/design/warhol-at-the-whitney-from-myth-to-man.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“His 15 minutes of fame will never expire. More than 350 works make up this major retrospective that spans Warhol’s entire career from illustrator to pop icon.”\u003cbr\u003e—\u003ca href=\"http://www.latimes.com/ny-ent-fall-guide-art-exhibits-20180829-story.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eLos Angeles Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“In November, the Whitney Museum of American Art will feature the first U.S. retrospective of Andy Warhol’s art in some three decades, in an exhibition that will occupy a great deal of the institution’s eight-story, High Line-adjacent building.”\u003cbr\u003e—\u003ca href=\"https://www.newyorker.com/magazine/2018/08/27/andy-warhols-ninetieth-birthday-bash\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New Yorker\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“De Salvo said she believes that the show will inspire viewers to look past the persona that the artist cultivated during his lifetime.”\u003cbr\u003e—\u003ca href=\"http://www.artnews.com/2018/08/06/takes-cake-whitney-toasts-warhols-90th-birthday-starts-retrospective-ticket-sales/\"\u003e\u003cem\u003eARTnews\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“What more is there to learn about this deeply superficial artist? The Whitney’s brilliant curator Donna De Salvo answers the question with the largest Warhol survey ever, featuring more than three hundred and fifty works.”\u003cbr\u003e—\u003ca href=\"https://www.newyorker.com/magazine/2018/08/27/fall-2018-art-preview\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New Yorker\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Titled 'Andy Warhol — From A to B and Back Again,' it stars a full cross-section of his epochal creations.\"\u003cbr\u003e—\u003ca href=\"https://www.nytimes.com/2018/11/01/arts/design/andy-warhol-inc-how-he-made-business-his-art.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.nytimes.com/2018/11/01/arts/design/andy-warhol-inc-how-he-made-business-his-art.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“The heart of Warhol’s idea — that by playing the role of businessman, an artist could turn himself into the latest, living example of a commodification he believed none of us can avoid — was perhaps as revolutionary in its time as Marcel Duchamp presenting a humble urinal as sculpture had been in 1917.”\u003cbr\u003e—\u003ca href=\"https://www.nytimes.com/2018/11/01/arts/design/andy-warhol-inc-how-he-made-business-his-art.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“One of its most groundbreaking aspects will be the concentration on the least-known time of Warhol’s life, the 1950s.”\u003cbr\u003e—\u003ca href=\"https://www.wmagazine.com/story/andy-warhol-whitney-museum-exhibit\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eW Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003e\"A\u003c/em\u003ell the possible aspects of his four-decades-long, multilayered practice, meticulously analyzed and presented.\"\u003cbr\u003e—\u003ca href=\"https://www.widewalls.ch/andy-warhol-retrospective-whitney-museum/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eWidewalls\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Andy is in the air we breathe. Among the most revolutionary artists who ever lived, Warhol (was) an artist in a state of creative grace feeding on, mirroring, doubling, and actually changing the culture he pictured. The Whitney’s new retrospective…isn’t to be missed.”\u003cbr\u003e—\u003ca href=\"https://www.vulture.com/2018/11/andy-warhol-whitney-retrospective.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eNew York Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"A remarkably handsome and topical show.”\u003cbr\u003e—\u003ca href=\"https://www.wnyc.org/story/review-warhol-21st-century/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eWNYC\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“De Salvo aims to offer a unique perspective on his work—a personal one. She looks behind Warhol’s carefully constructed mask to explore how a gay man raised by Czech immigrants in a Catholic family became one of the world’s most experimental artists.”\u003cbr\u003e—\u003ca href=\"https://news.artnet.com/exhibitions/curator-whitneys-warhol-show-mission-show-artist-youve-never-seen-1386064\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eArtnet\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“The wonderful thing about the Whitney show is that it places Warhol’s famous moments alongside the moments you have likely never seen or heard of… \"\u003cbr\u003e—\u003ca href=\"https://www.thedailybeast.com/the-whitney-museums-andy-warhol-show-is-more-than-his-greatest-hits\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe Daily Beast\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“It’s all about Andy!...More than three decades after his death, Warhol’s art continues to draw crowds and remains relevant.”\u003cbr\u003e—\u003ca href=\"https://newyork.cbslocal.com/2018/11/06/andy-warhol-exhibit-whitney-museum/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eCBS New York\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“There are plenty of hits— mediated and sequential images, experiments with abstraction, and Popism on full display.”\u003cbr\u003e—\u003ca href=\"https://www.culturedmag.com/5-andy-warhol-experts-on-the-whitneys-blockbuster-fall-show/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eCultured\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“The Best Part of the Whitney Warhol Retrospective Might Be His Pre-Fame Drawings of Shoes and Boys.”\u003cbr\u003e—\u003ca href=\"https://www.vulture.com/2018/11/andy-warhols-early-drawings-of-shoes-boys-at-the-whitney.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eVulture\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003e\"\u003c/em\u003eThe Whitney’s celebrated Warhol extravaganza explores lesser-known elements of the Pop artist’s oeuvre, including his homoerotic drawings and portraits of men in drag from the 1960s.”\u003cbr\u003e—\u003ca href=\"https://news.artnet.com/art-world/editors-picks-november-26-1394260\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eArtnet\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Warhol didn’t make a mark on American culture. He became the instrument with which American culture designated itself.”\u003cbr\u003e—\u003ca href=\"https://www.newyorker.com/magazine/2018/11/19/theres-still-no-escaping-andy-warhol\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New Yorker\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003e\"\u003c/em\u003eWarhol—a pale, oracular ghost—looms as a spiritual father of this media-saturated age.”\u003cbr\u003e—\u003ca href=\"https://www.economist.com/books-and-arts/2018/11/17/andy-warhol-was-a-prophet-of-media-saturated-modernity\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe Economist\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"\u003cp class=\"large\"\u003eIn February 1966, Warhol announced that he was sponsoring a band: the Velvet Underground. After seeing them play one of their first shows, Warhol asked the Velvets—Lou Reed, John Cale, Sterling Morrison, and Maureen “Moe” Tucker—to provide musical accompaniment for a screening of his films. “We were doing what he was doing,\" Reed recalls, \"except we were using music and he was doing it with lights.” Warhol later invited the band to rehearse at the Factory, providing them with new, louder amplifiers. He also recruited German chanteuse, Nico Päffgen, to serve as the band’s second lead vocalist. Warhol went on to produce and provide cover art for the band's first album, \u003cem\u003eThe Velvet Underground and Nico\u0026nbsp;\u003c/em\u003e(1967), as well as to design the art for their second release, \u003cem\u003eWhite Light/White Heat\u0026nbsp;\u003c/em\u003e(1968). This playlist combines tracks from each of the Velvets' four albums, along with songs from solo releases by Cale, Reed and Nico through 1972.\u003c/p\u003e","videos_description":"","popularity":0.8690476190476191,"created_at":"2017-10-25T11:08:54.000-04:00","updated_at":"2026-07-29T16:46:46.816-04:00","block_editor":{"data":{"id":"2385","type":"block_editor","attributes":{"id":2385,"exhibition_id":243,"page_id":null,"created_at":"2025-06-16T12:34:35.497-04:00","updated_at":"2025-06-16T12:34:35.497-04:00","regions":[{"data":{"id":"22161","type":"region","attributes":{"id":22161,"position":1,"columns":6,"block_editor_id":2385,"created_at":"2025-02-19T09:52:01.105-05:00","updated_at":"2026-03-24T13:51:32.849-04:00","region_components":[{"data":{"id":"40432","type":"region_component","attributes":{"id":40432,"component_id":14702,"component_type":"TextComponent","position":1,"region_id":22161,"created_at":"2025-02-19T09:52:01.112-05:00","updated_at":"2026-03-24T13:51:32.858-04:00","component":{"data":{"id":"14702","type":"component","attributes":{"id":14702,"exhibition_id":243,"text":"\u003ch2\u003e\u003ca href=\"https://www.google.com/maps/d/u/2/viewer?hl=en\u0026mid=1DCuovUkZMgHaM2o7K9nmzbWAfW21LP9W\u0026ll=40.78071569294369%2C-73.90585849650057\u0026z=12\"\u003eTour New York With Warhol\u003c/a\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003eExplore the spots where Andy Warhol lived, worked, and socialized.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca class=\"btn\" href=\"https://www.google.com/maps/d/u/2/viewer?hl=en\u0026mid=1DCuovUkZMgHaM2o7K9nmzbWAfW21LP9W\u0026ll=40.78071569294369%2C-73.90585849650057\u0026z=12\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eGo to map\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"22162","type":"region","attributes":{"id":22162,"position":2,"columns":6,"block_editor_id":2385,"created_at":"2025-02-19T09:52:01.127-05:00","updated_at":"2026-03-24T13:51:32.868-04:00","region_components":[{"data":{"id":"40433","type":"region_component","attributes":{"id":40433,"component_id":13951,"component_type":"MediaComponent","position":1,"region_id":22162,"created_at":"2025-02-19T09:52:01.134-05:00","updated_at":"2026-03-24T13:51:32.877-04:00","component":{"data":{"id":"13951","type":"component","attributes":{"id":13951,"exhibition_id":243,"media_id":41214,"url":""}}}}}}]}}},{"data":{"id":"22896","type":"region","attributes":{"id":22896,"position":3,"columns":12,"block_editor_id":2385,"created_at":"2025-05-19T18:22:19.934-04:00","updated_at":"2026-03-24T13:51:32.884-04:00","region_components":[{"data":{"id":"41774","type":"region_component","attributes":{"id":41774,"component_id":3428,"component_type":"HorizontalRuleComponent","position":1,"region_id":22896,"created_at":"2025-05-19T18:22:19.952-04:00","updated_at":"2026-03-24T13:51:32.891-04:00","component":{"data":{"id":"3428","type":"component","attributes":{"id":3428,"exhibition_id":243}}}}}},{"data":{"id":"41775","type":"region_component","attributes":{"id":41775,"component_id":15131,"component_type":"TextComponent","position":2,"region_id":22896,"created_at":"2025-05-19T18:22:19.957-04:00","updated_at":"2026-03-24T13:51:32.898-04:00","component":{"data":{"id":"15131","type":"component","attributes":{"id":15131,"exhibition_id":243,"text":"\u003ch2\u003eMore about the exhibition\u003c/h2\u003e\u003cp class=\"large\"\u003eThe exhibition positions Warhol's career as a continuum, demonstrating that he didn't slow down after surviving the assassination attempt that nearly took his life in 1968, but entered into a period of intense experimentation. The show illuminates the breadth, depth, and interconnectedness of the artist’s production: from his beginnings as a commercial illustrator in the 1950s, to his iconic Pop masterpieces of the early 1960s, to the experimental work in film and other mediums from the 1960s and 70s, to his innovative use of readymade abstraction and the painterly sublime in the 1980s. His repetitions, distortions, camouflaging, incongruous color, and recycling of his own imagery challenge our faith in images and the value of cultural icons, anticipating the profound effects and issues of the current digital age.\u003c/p\u003e\u003cp class=\"large\"\u003eThis is the largest monographic exhibition to date at the Whitney's new location, with more than 350 works of art, many assembled together for the first time.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eThe exhibition is organized by Donna De Salvo, Deputy Director for International Initiatives and Senior Curator, with Christie Mitchell, senior curatorial assistant, and Mark Loiacono, curatorial research associate.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"223","type":"exhibition","attributes":{"id":223,"title":"Where We Are: Selections from the Whitney’s Collection, 1900–1960","start_time":"2017-04-28T00:00:00.000-04:00","end_time":"2019-06-02T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/where-we-are","primary_text":"\u003cp class=\"large\"\u003eFocusing on works made from 1900 to 1960, \u003cspan\u003e\u003cem\u003eWhere We Are\u003c/em\u003e\u0026nbsp;\u003c/span\u003etraces how artists have approached the relationships, institutions, and activities that shape our lives. Drawn entirely from the Whitney’s holdings, the exhibition is organized around five themes: family and community, work, home, the spiritual, and the nation. During the six decades covered here, the United States experienced war \u003cspan\u003eand peace, economic collapse and recovery, and social discord\u0026nbsp;\u003c/span\u003eand progress. American artists responded in complex and diverse ways, and a central aim of the exhibition is to honor each artist’s \u003cspan\u003eefforts to create her or his own vision of American life. The artists and their works suggest that our sense of self is composed of our responsibilities, places, and beliefs.\u003c/span\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eWhere We Are\u003c/em\u003e\u003cspan\u003e, as well as each of its sections, is titled after a phrase in W. H. Auden’s poem “September 1, 1939.” Auden, who\u0026nbsp;\u003c/span\u003ewas raised in England, wrote the poem in New York shortly after his immigration to the United States and at the very outset of World \u003cspan\u003eWar II. The title of the poem marks the date Germany invaded Poland. While its subject is the beginning of the war, Auden’s true\u0026nbsp;\u003c/span\u003etheme is how the shadow of a global emergency reaches into the far corners of everyday life. Although mournful, the poem concludes \u003cspan\u003eby pointing to the individual’s capacity to “show an affirming flame.”\u0026nbsp;\u003c/span\u003e\u003cem\u003eWhere We Are\u003c/em\u003e \u003cspan\u003eshares Auden’s guarded optimism, gathering a\u0026nbsp;\u003c/span\u003econstellation of artists whose light might lead us forward.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eWhere We Are\u003c/em\u003e\u0026nbsp;is organized by David Breslin, DeMartini Family Curator and Director of the Collection, with Jennie Goldstein, assistant curator, and Margaret Kross, curatorial assistant.\u003c/p\u003e\u003cp\u003e\u003cem\u003eWhere We Are: Selections from the Whitney’s Collection, 1900–1960\u003c/em\u003e is sponsored by\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://www.delta.com/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824938/Delta_c_r__2_.jpg\"\u003e\u003c/a\u003e\u003c/p\u003e","primary_media_id":11510,"override_media_id":null,"sign_media_id":null,"feature_id":10,"artwork_series_id":null,"installation_series_id":2363,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“This stunning installation organized by David Breslin with Jennie Goldstein and Margaret Kross depicts another tumultuous time in American history.”\u003cbr\u003e—\u003ca href=\"http://thevillager.com/2017/05/10/buhmann-on-art-where-we-are-at-the-whitney/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe Villager\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"The show examines how American artists responded in complex and diverse ways to these events and to simultaneously honor each artist’s efforts to create her or his own vision of American life.\"\u003cbr\u003e—\u003ca href=\"http://www.blouinartinfo.com/news/story/2234322/where-we-are-at-whitney-museum-of-american-art-new-york\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eArtinfo\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":null,"videos_description":null,"popularity":0.7172619047619048,"created_at":"2017-04-06T23:27:15.000-04:00","updated_at":"2026-07-29T16:46:45.401-04:00","block_editor":{"data":{"id":"2357","type":"block_editor","attributes":{"id":2357,"exhibition_id":223,"page_id":null,"created_at":"2025-06-16T12:34:32.115-04:00","updated_at":"2025-06-16T12:34:32.115-04:00","regions":[]}}}}},{"id":"194","type":"exhibition","attributes":{"id":194,"title":"Human Interest: Portraits from the Whitney’s Collection","start_time":"2016-04-02T00:00:00.000-04:00","end_time":"2017-04-02T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/human-interest","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eHuman Interest: Portraits from the Whitney’s Collection\u003c/em\u003e offers new perspectives on one of art’s oldest genres. Drawn entirely from the Museum’s holdings, the more than two hundred works in the exhibition show changing approaches to portraiture from the early 1900s until today. Bringing iconic works together with lesser-known examples and recent acquisitions in a range of mediums, the exhibition unfolds in eleven thematic sections on the sixth and seventh floors. Some of these groupings concentrate on focused periods of time, while others span the twentieth and twenty-first centuries to forge links between the past and the present. This sense of connection is one of portraiture’s most important aims, whether memorializing famous individuals long gone or calling to mind loved ones near at hand.\u003c/p\u003e\u003cp class=\"large\"\u003ePortraits are one of the richest veins of the Whitney’s collection, a result of the Museum’s longstanding commitment to the figurative tradition, which was championed by its founder, Gertrude Vanderbilt Whitney. Yet the works included in this exhibition propose diverse and often unconventional ways of representing an individual. Many artists reconsider the pursuit of external likeness—portraiture’s usual objective—within formal or conceptual explorations or reject it altogether. Some revel in the genre’s glamorous allure, while others critique its elitist associations and instead call attention to the banal or even the grotesque.\u003c/p\u003e\u003cp class=\"large\"\u003eOnce a rarefied luxury good, portraits are now ubiquitous. Readily reproducible and ever-more accessible, photography has played a particularly vital role in the democratization of portraiture. Most recently, the proliferation of smartphones and the rise of social media have unleashed an unprecedented stream of portraits in the form of snapshots and selfies. Many contemporary artists confront this situation, stressing the fluidity of identity in a world where technology and the mass media are omnipresent. Through their varied takes on the portrait, the artists represented in \u003cem\u003eHuman Interest\u003c/em\u003e\u0026nbsp;raise provocative questions about who we are and how we perceive and commemorate others.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eHuman Interest: Portraits from the Whitney’s Collection\u003c/em\u003e is curated by Dana Miller, Richard DeMartini Family Curator and Director of the Permanent Collection and Scott Rothkopf, Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator with Mia Curran, Curatorial Assistant; Jennie Goldstein, Assistant Curator; and Sasha Nicholas, consulting curator.\u003c/p\u003e\u003cp\u003e\u003cem\u003eHuman Interest: Portraits from the Whitney’s Collection\u003c/em\u003e is sponsored by\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://www.delta.com/content/www/en_US/traveling-with-us/where-we-fly/destinations/featured-locations/new-york-city/our-new-home-at-jfk.html\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824938/Delta_c_r__2_.jpg\" alt=\"Delta\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://world.maxmara.com/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/808924/RackMultipart20170330-44-1w5m80j.jpg\" alt=\"Max Mara\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eMajor support is provided by Anne Cox Chambers and Helen and Charles Schwab.\u003c/p\u003e\u003cp\u003eGenerous support is provided by The Brown Foundation, Inc., of Houston.\u003c/p\u003e","primary_media_id":10173,"override_media_id":null,"sign_media_id":null,"feature_id":7,"artwork_series_id":null,"installation_series_id":307,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“Astutely geared to the selfie age, it might well have been subtitled 'Americans Are Strange to Look At,' which, in the two-hundred and fifty images here, we sure are: funny-strange, beautiful-strange, crazy-strange, dangerous-strange, inscrutable-strange.”\u003cbr\u003e—\u003ca href=\"http://www.nytimes.com/2016/04/29/arts/design/picturing-america-in-the-selfie-age-at-the-whitney.html?_r=0\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“In Conversation: Barkley L. Hendricks with Laila Pedro”\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.brooklynrail.org/2016/04/art/barkley-l-hendricks-with-laila-pedro\" target=\"_blank\"\u003eThe Brooklyn Rail\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“This 8-Foot Candle Portrait Mesmerized Me”\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.vulture.com/2016/05/urs-fischer-julian-schnabel-wax-sculpture.html\" target=\"_blank\"\u003eNew York Magazine\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"The Whitney's Extraordinary\u0026nbsp;Human Interest\u0026nbsp;Exhibit is the Ultimate Portrait Show\"\u003cbr\u003e—\u003ca href=\"http://www.nj.com/entertainment/arts/index.ssf/2016/05/human_interest_reinstalls_the_whitneys_collection.html\" target=\"_blank\"\u003e\u003cem\u003eNJ.com\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003e\"\u003c/em\u003eThe mixed media show, grouped by era or thematically, includes a variety of perspectives that challenge who we are and how we perceive and record those around us\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.blouinartinfo.com/news/story/1723724/portraits-from-the-whitney-collection-at-the-whitney-museum\"\u003eBlouin Art Info\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“A collection that proves that more than just the faces of people can constitute portraits.”\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.chelseanewsny.com/city-arts-news/20160512/about-face-at-the-whitney\" target=\"_blank\"\u003eChelsea News\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"[\u003cem\u003eHuman Interest\u003c/em\u003e] delves into the art form in an unprecedented way.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.instyle.com/lifestyle/travel/cant-miss-new-york-museum-exhibits-summer-2016\" target=\"_blank\"\u003eInStyle\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"The Whitney Museum’s wide-angle collection show \u003cem\u003eHuman Interest\u003c/em\u003e\u0026nbsp;reminds us that the democratization of portraiture started more than a century ago, and encourages us to think more broadly about what is or isn’t a portrait.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.artspace.com/magazine/interviews_features/in_depth/portraiture-in-nyc-june-2016-53878\" target=\"_blank\"\u003eArtspace\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003e\"\u003c/em\u003eThere are magnetic images everywhere.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nytimes.com/2016/09/30/arts/design/museum-gallery-listings-for-sept-30-oct-6.html?_r=0\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e","audio_description":null,"videos_description":null,"popularity":0.7738095238095238,"created_at":"2017-04-03T12:47:55.000-04:00","updated_at":"2026-07-29T16:46:41.409-04:00","block_editor":{"data":{"id":"2327","type":"block_editor","attributes":{"id":2327,"exhibition_id":194,"page_id":null,"created_at":"2025-06-16T12:34:27.693-04:00","updated_at":"2025-06-16T12:34:27.693-04:00","regions":[]}}}}},{"id":"1026","type":"exhibition","attributes":{"id":1026,"title":"Edward Hopper’s New York","start_time":"2022-10-19T00:00:00.000-04:00","end_time":"2023-03-05T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/edward-hopper-new-york","primary_text":"\u003cp class=\"large\"\u003eFor \u003ca href=\"/artists/621\"\u003eEdward Hopper\u003c/a\u003e, New York was a city that existed in the mind as well as on the map, a place that took shape through lived experience, memory, and the collective imagination. It was, he reflected late in life, “the American city that I know best and like most.”\u003c/p\u003e\u003cp class=\"large\"\u003eThe city of New York was Hopper’s home for nearly six decades (1908–67), a period that spans his entire mature career. Hopper’s New York was not an exacting portrait of the twentieth-century metropolis. During his lifetime, the city underwent tremendous development—skyscrapers reached record-breaking heights, construction sites roared across the five boroughs, and an increasingly diverse population boomed—yet his depictions of New York remained human-scale and largely unpopulated. Eschewing the city’s iconic skyline and picturesque landmarks, such as the Brooklyn Bridge and the Empire State Building, Hopper instead turned his attention to its unsung utilitarian structures and out-of-the-way corners, drawn to the awkward collisions of new and old, civic and residential, public and private that captured the paradoxes of the changing city. \u003cem\u003eEdward Hopper’s New York\u003c/em\u003e charts the artist’s enduring fascination with the city, revealing a vision of New York that is as much a manifestation of Hopper himself as it is a record of the city around him.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eEdward Hopper’s New York\u003c/em\u003e takes a comprehensive look at Hopper’s life and work, from his early impressions of New York in sketches, prints, and illustrations, to his late paintings, in which the city served as a backdrop for his evocative distillations of urban experience. Drawing from the Whitney’s extensive holdings and amplified by key loans, the exhibition brings together many of Hopper’s iconic city pictures as well as several lesser-known yet critically important examples. The presentation is significantly informed by a variety of materials from the Museum’s recently acquired \u003ca href=\"/collection/research/archives/manuscript-collections\"\u003eSanborn Hopper Archive\u003c/a\u003e—printed ephemera, correspondence, photographs, and journals that together inspire new insights into Hopper’s life in the city. By exploring the artist’s work through the lens of New York, the exhibition offers a fresh take on this formidable figure and considers the city itself as a lead actor.\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition is organized by Kim Conaty, Steven and Ann Ames Curator of Drawings and Prints, with Melinda Lang, Senior Curatorial Assistant.\u003c/p\u003e\u003cp\u003e\u003cem\u003eEdward Hopper's New York\u003c/em\u003e is sponsored by\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824959/bofa_lo1_rgb_Digital.png\" style=\"height:28.5px;\"\u003e\u003c/p\u003e\u003cp\u003eThis exhibition is also sponsored by\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/827957/screencapture-whitney-org-exhibitions-edward-hopper-new-york-logo-1-2022-07-20-14_22_32.png\" style=\"height:34px;\"\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/827334/large_Phillips_Master.jpg\" style=\"height:14px;\"\u003e\u003c/p\u003e\u003cp\u003eGenerous support is provided by Judy Hart Angelo, Kenneth C. Griffin, and the Terra Foundation for American Art.\u0026nbsp;\u003c/p\u003e\u003cp\u003eMajor support is provided by the Barbara Haskell American Fellows Legacy Fund; David Bolger; The Brown Foundation, Inc., of Houston; the David Geffen Foundation; and Laurie M. Tisch.\u0026nbsp;\u003cbr\u003e\u003cbr\u003eSignificant support is provided by Elizabeth Marsteller Gordon.\u0026nbsp;\u003c/p\u003e\u003cp\u003eAdditional support is provided by Ann Ames, Jane Carroll, Elissa and Edgar Cullman, the Daniel W. Dietrich II Foundation, and Arlene and Robert Kogod.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818156/TER_Primary_Lockup_Small.jpg\" style=\"height:34px;\"\u003e\u003c/p\u003e\u003cp\u003eThis exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.\u003c/p\u003e\u003cp\u003e\u003cem\u003eNew York\u003c/em\u003e magazine is the exclusive media sponsor.\u003c/p\u003e","primary_media_id":50286,"override_media_id":null,"sign_media_id":null,"feature_id":46,"artwork_series_id":null,"installation_series_id":2532,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“…this is Hopper’s New York, emphasis on the possessive, and for all its crowd-pleasing fare this is a more challenging show about his dominion over the city.”\u0026nbsp;—\u003ca href=\"https://www.nytimes.com/2022/11/22/arts/design/edward-hopper-whitney-museum.html\"\u003e\u003cem\u003eNew York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Curated with great intelligence and care by Kim Conaty, “Edward Hopper’s New York” is a terrific show based on a great idea, and it’s weird that no one thought to approach his work in this way before.” —\u003ca href=\"https://www.newyorker.com/magazine/2022/10/31/two-views-of-new-york-from-edward-hopper-and-a-historic-black-gallery\"\u003e\u003cem\u003eThe New Yorker\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“But as a startling and immaculate show at the Whitney Museum of American Art makes clear, some of Hopper’s most gothic allegories of disconnection and loneliness were set in the perpetually raucous metropolis.” —\u003ca href=\"https://www.ft.com/content/b3524d06-361f-4d64-8983-355ab7d4f3d8?FTCamp=engage/CAPI/webapp/Channel_Cision//B2B\"\u003e\u003cem\u003eFinancial Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“…a celebration of the city and the master who co-exist and reveal the immortality of New York.” —\u003ca href=\"https://www.forbes.com/sites/natashagural/2022/10/15/edward-hoppers-new-york-at-the-whitney-magnifies-the-masters-six-decades-in-his-beloved-city/?sh=1af7749043d3\"\u003e\u003cem\u003eForbes\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“The show succeeds at revealing a different side of Hopper, eschewing many of the artist’s most famous paintings in favor of ones that cultivate a sense of him as a New Yorker and an artistic innovator.”\u0026nbsp;—\u003ca href=\"https://www.theguardian.com/artanddesign/2022/oct/25/edward-hopper-new-york-whitney-museum-exhibition\"\u003e\u003cem\u003eThe Guardian\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“…the artist shows us urban dreamers but keeps their thoughts private.”\u0026nbsp;—\u003ca href=\"https://www.wsj.com/articles/edward-hoppers-city-of-dreamers-11665165449?st=c4bikrft5ch0g1k\u0026reflink=desktopwebshare_permalink\"\u003e\u003cem\u003eWall Street Journal\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“…the diverse selection of works encourages us to do away with clichés and consider that Hopper’s vision of the city was as varied and complex as the man himself.”\u0026nbsp;—\u003ca href=\"https://www.theartnewspaper.com/2022/12/02/the-big-review-edward-hoppers-new-york\"\u003e\u003cem\u003eThe Art Newspaper\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“…captures a lifelong love that shifted with the city itself, sometimes uncomfortably, but never grew stale.”\u0026nbsp;—\u003ca href=\"https://www.bostonglobe.com/2022/11/23/arts/edward-hoppers-new-york-city-artist-forever-entwined/\"\u003e\u003cem\u003eThe Boston Globe\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“…a dynamic mix of artworks and archival materials that tell the story of Hopper’s life and work in New York City…”\u0026nbsp;—\u003ca href=\"https://news.artnet.com/art-world/6-things-the-whitneys-new-edward-hopper-show-teaches-us-about-his-tortured-love-affair-with-new-york-2195992\"\u003e\u003cem\u003eArtnet\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“It’s a chance to see how one New Yorker saw our city evolve over almost six decades.”\u0026nbsp;—\u003ca href=\"https://www.ny1.com/nyc/all-boroughs/arts/2022/10/18/edward-hopper-s-works-in-spotlight-at-the-whitney\"\u003e\u003cem\u003eNY1\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“One of the joys of this Whitney show is the many preparatory sketches on display.”\u0026nbsp;—\u003ca href=\"https://www.villagevoice.com/2023/02/11/waiting-for-the-nighthawks-edward-hopper-and-the-denizens-of-new-york/\"\u003e\u003cem\u003eThe Village Voice\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...the first exhibition to take an in-depth look at the painter’s relationship with New York City, where he lived for six decades.” —\u003ca href=\"https://pix11.com/news/local-news/manhattan/edward-hopper-ex\"\u003ePIX11\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Edward Hopper's New York features about 200 works that capture a changing and changeless city, and illuminate the inner lives of city dwellers.” —\u003ca href=\"https://www.cbsnews.com/video/a-window-into-edward-hoppers-world/\"\u003e\u003cem\u003eCBS Sunday Morning\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...the Hopper exhibition is perfectly on brand: an invitation to New Yorkers, past, present and future, to navel-gaze and ponder the enigma of why the greatest city in the world is both the cause and cure of loneliness.” —\u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2023/01/26/edward-hopper-new-york-whitney/?itid=mr_entertainment_4\"\u003e\u003cem\u003eThe Washington Post\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“…Hopper’s strongest works are invigorated by tension between an apparent naturalism and lucid structure and an implied, enigmatic—rather than overt—narrative..”\u003cem\u003e\u0026nbsp;—\u003ca href=\"https://www.wsj.com/articles/edward-hoppers-new-york-review-whitney-museum-of-american-art-early-sunday-morning-11673042868\"\u003eThe Wall Street Journal\u0026nbsp;\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“What Hopper discovered was that when the people are gone, the buildings come to life.” —\u003ca href=\"https://www.nybooks.com/articles/2023/02/23/buildings-come-to-life-edward-hoppers-new-york/\"\u003e\u003cem\u003eNew York Review of Books\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Stillness at the threshold of movement is a crucial feature in the illusionistic dramaturgy of Hopper’s work.” —\u003ca href=\"https://www.artforum.com/print/202302/thomas-eggerer-on-edward-hopper-89986\"\u003e\u003cem\u003eArtforum\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Rarely does a museum so effectively recalibrate the public’s understanding of a non-living artist.” —\u003ca href=\"https://www.theartnewspaper.com/2023/03/01/edward-hoppers-new-york-was-far-from-reality\"\u003e\u003cem\u003eThe Art Newspaper\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"","videos_description":"","popularity":0.9434523809523809,"created_at":"2022-09-30T16:47:44.645-04:00","updated_at":"2026-07-29T12:36:10.852-04:00","block_editor":{"data":{"id":"3621","type":"block_editor","attributes":{"id":3621,"exhibition_id":1026,"page_id":null,"created_at":"2025-06-16T12:38:15.367-04:00","updated_at":"2025-06-16T12:38:15.367-04:00","regions":[{"data":{"id":"22221","type":"region","attributes":{"id":22221,"position":1,"columns":6,"block_editor_id":3621,"created_at":"2025-02-19T09:52:05.034-05:00","updated_at":"2026-03-26T17:10:29.784-04:00","region_components":[{"data":{"id":"40507","type":"region_component","attributes":{"id":40507,"component_id":24,"component_type":"JumplinkComponent","position":1,"region_id":22221,"created_at":"2025-02-19T09:52:05.041-05:00","updated_at":"2026-03-26T17:10:29.793-04:00","component":{"data":{"id":"24","type":"component","attributes":{"id":24,"exhibition_id":1026,"text":"City sites"}}}}}},{"data":{"id":"40508","type":"region_component","attributes":{"id":40508,"component_id":14751,"component_type":"TextComponent","position":2,"region_id":22221,"created_at":"2025-02-19T09:52:05.053-05:00","updated_at":"2026-03-26T17:10:29.801-04:00","component":{"data":{"id":"14751","type":"component","attributes":{"id":14751,"exhibition_id":1026,"text":"\u003ch2\u003eCity sites\u003c/h2\u003e\u003cp class=\"large\"\u003eExplore Edward Hopper\u003cem\u003e’\u003c/em\u003es New York then and now. See the sites he painted as they look today.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca class=\"btn\" href=\"https://www.google.com/maps/d/u/3/edit?mid=1-wzGAiHru5GiDKYr4opuHSHvKYifLMY\u0026usp=sharing\"\u003eGo to map\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cspan\u003eAnd join us as we follow Hopper's footsteps through New York on\u0026nbsp;\u003c/span\u003e\u003ca href=\"https://www.instagram.com/whitneymuseum/\"\u003eInstagram\u003c/a\u003e\u003cspan\u003e. #HopperWasHere\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cspan\u003eStay connected with the Whitney:\u003c/span\u003e\u003cbr\u003e\u003cspan\u003e\u003ca href=\"https://www.instagram.com/whitneymuseum/\"\u003eInstagram\u003c/a\u003e\u003c/span\u003e\u003cbr\u003e\u003cspan\u003e\u003ca href=\"https://www.youtube.com/user/WhitneyFocus\"\u003eYoutube\u003c/a\u003e\u003c/span\u003e\u003cbr\u003e\u003cspan\u003e\u003ca href=\"https://twitter.com/whitneymuseum\"\u003eTwitter\u003c/a\u003e\u003c/span\u003e\u003cbr\u003e\u003cspan\u003e\u003ca href=\"https://www.facebook.com/whitneymuseum\"\u003eFacebook\u003c/a\u003e\u003c/span\u003e\u003cbr\u003e\u003ca href=\"https://www.tiktok.com/@whitneymuseum\"\u003eTikTok\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"22222","type":"region","attributes":{"id":22222,"position":2,"columns":6,"block_editor_id":3621,"created_at":"2025-02-19T09:52:05.066-05:00","updated_at":"2026-03-26T17:10:29.810-04:00","region_components":[{"data":{"id":"40509","type":"region_component","attributes":{"id":40509,"component_id":13958,"component_type":"MediaComponent","position":1,"region_id":22222,"created_at":"2025-02-19T09:52:05.073-05:00","updated_at":"2026-03-26T17:10:29.818-04:00","component":{"data":{"id":"13958","type":"component","attributes":{"id":13958,"exhibition_id":1026,"media_id":54083,"url":""}}}}}}]}}},{"data":{"id":"22892","type":"region","attributes":{"id":22892,"position":3,"columns":12,"block_editor_id":3621,"created_at":"2025-05-19T18:19:45.256-04:00","updated_at":"2026-03-26T17:10:29.825-04:00","region_components":[{"data":{"id":"41769","type":"region_component","attributes":{"id":41769,"component_id":3426,"component_type":"HorizontalRuleComponent","position":1,"region_id":22892,"created_at":"2025-05-19T18:19:45.294-04:00","updated_at":"2026-03-26T17:10:29.834-04:00","component":{"data":{"id":"3426","type":"component","attributes":{"id":3426,"exhibition_id":1026}}}}}},{"data":{"id":"41770","type":"region_component","attributes":{"id":41770,"component_id":15128,"component_type":"TextComponent","position":2,"region_id":22892,"created_at":"2025-05-19T18:19:45.300-04:00","updated_at":"2026-03-26T17:10:29.841-04:00","component":{"data":{"id":"15128","type":"component","attributes":{"id":15128,"exhibition_id":1026,"text":"\u003ch2\u003eResources\u003c/h2\u003e\u003cp class=\"large\"\u003eAccess additional \u003ca href=\"/research/edward-and-josephine-hopper-resources\"\u003eEdward and Josephine Hopper resources\u003c/a\u003e.\u003c/p\u003e"}}}}}}]}}}]}}}}}],"meta":{"total":1621},"links":{"prev":null,"next":"https://whitney.org/api/exhibitions?page=2","first":"https://whitney.org/api/exhibitions?page=1","last":"https://whitney.org/api/exhibitions?page=55"}}