{"data":[{"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":0.9477124183006536,"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":"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\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\u003e’s life. This exhibition runs in conjunction with the major exhibition \u003cem\u003eRoy Lichtenstein: Like New\u003c/em\u003e, presented on the Museum’s 5th floor. Echoing and expanding on key throughlines from the larger exhibition, \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\"\u003eThe exhibition 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":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.9183006535947712,"created_at":"2026-05-07T01:00:12.425-04:00","updated_at":"2026-08-04T16:36:55.867-04:00","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":"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":0.9117647058823529,"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":0.4084967320261438,"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":0.8496732026143791,"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":"2294","type":"exhibition","attributes":{"id":2294,"title":"Whitney Biennial 2026","start_time":"2026-03-08T00:00:00.000-05:00","end_time":"2026-08-23T00:00:00.000-04:00","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":65310,"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":"2026-08-03T13:28:59.988-04:00","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":"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\"\u003e\u003cem\u003eThe Lost World: The Art of Minnie Evans\u003c/em\u003e offers a reexamination of one of the most extraordinary self-taught artists of the twentieth century, just over fifty years after the Whitney presented \u003ca href=\"/artists/406\"\u003eMinnie Evans\u003c/a\u003e’s groundbreaking first solo museum exhibition in 1975. This touring exhibition, organized by the High Museum of Art, brings together works made between 1935 and 1981 and highlights Evans’s radiant drawings, paintings, and collages inspired by dreams, spiritual revelation, mythology, popular culture, and the natural world.\u003c/p\u003e\u003cp class=\"large\"\u003eThrough luminous color, dense patterning, and recurring motifs of flowers, birds, angels, and human faces, Evans envisioned a world that blurs the boundaries between the earthly and the divine. Living in Wilmington, North Carolina during the Jim Crow era, Evans created visual images of an imagined “lost world” of harmony and spiritual unity. At once deeply personal and expansive, Evans’s work offers a powerful meditation on faith, imagination, transcendence, and the possibility of harmony amid a vulnerable world.\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":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.9444444444444444,"created_at":"2025-12-31T00:25:48.360-05:00","updated_at":"2026-08-03T13:17:58.052-04:00","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":"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":0.3464052287581699,"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":0.8725490196078431,"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":0.761437908496732,"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":"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":"Opens Sept 19","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":65585,"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":0.8562091503267973,"created_at":"2026-06-23T12:35:48.519-04:00","updated_at":"2026-07-30T11:47:19.157-04:00","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":"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":0.9215686274509803,"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":0.7777777777777778,"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":0.5359477124183006,"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":0.7875816993464052,"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":0.8921568627450981,"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":0.696078431372549,"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":0.7418300653594772,"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":"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\u003ePrincipal support is provided by Pete and Michelle Scantland; and Caroline and Robert Taubman, on behalf of the A. Alfred Taubman Foundation.\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=\" height:55px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp;\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":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.9967320261437909,"created_at":"2026-06-22T15:21:46.105-04:00","updated_at":"2026-07-29T16:41:04.858-04:00","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":"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":0.9313725490196079,"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"}}}}}}]}}}]}}}}},{"id":"927","type":"exhibition","attributes":{"id":927,"title":"Jaune Quick-to-See Smith:\u003cbr\u003eMemory Map","start_time":"2023-04-19T00:00:00.000-04:00","end_time":"2023-08-13T00:00:00.000-04:00","member_start_time":"2023-04-13T00:00:00.000-04:00","member_end_time":"2023-04-17T00:00:00.000-04:00","date_override":"","url":"/exhibitions/jaune-quick-to-see-smith","primary_text":"\u003cp class=\"large\"\u003eThis exhibition is the first New York retrospective of Jaune Quick-to-See Smith (b. 1940, citizen of the Confederated Salish and Kootenai Nation), an overdue but timely look at the work of a groundbreaking artist. \u003cem\u003eJaune Quick-to-See Smith: Memory Map\u003c/em\u003e brings together nearly five decades of Smith’s drawings, prints, paintings, and sculptures in the largest and most comprehensive showing of her career to date.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eSmith’s work engages with contemporary modes of making, from her idiosyncratic adoption of abstraction to her reflections on American Pop art and neo-expressionism. These artistic traditions are incorporated and reimagined with concepts rooted in Smith’s own cultural practice, reflecting her belief that her “life’s work involves examining contemporary life in America and interpreting it through Native ideology.” Employing satire and humor, Smith’s art tells stories that flip commonly held conceptions of historical narratives and illuminate absurdities in the formation of dominant culture. Smith’s approach importantly blurs categories and questions why certain visual languages attain recognition, historical privilege, and value. \u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eAcross decades and mediums, Smith has deployed and reappropriated ideas of mapping, history, and environmentalism while incorporating personal and collective memories. The retrospective will offer new frameworks in which to consider contemporary Native American art and show how Smith has led and initiated some of the most pressing dialogues around land, racism, and cultural preservation—issues at the forefront of contemporary life and art today.\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition is organized by Laura Phipps, Associate Curator at the Whitney Museum of American Art, with Caitlin Chaisson, Curatorial Project Assistant.\u003c/p\u003e\u003cp\u003eGenerous support for \u003cem\u003eJaune Quick-to-See Smith: Memory Map\u0026nbsp;\u003c/em\u003eis provided by Judy Hart Angelo; the Carl \u0026amp; Marilynn Thoma Foundation; Lise and Michael Evans; the Henry Luce Foundation; the Horace W. Goldsmith Foundation; Kevin and Rosemary McNeely, Manitou Fund; the Terra Foundation for American Art; and the Whitney’s National Committee.\u003c/p\u003e\u003cp\u003eMajor support is provided by Forge Project, Garth Greenan Gallery, Sueyun and Gene Locks, and Susan and Larry Marx.\u003c/p\u003e\u003cp\u003eSignificant support is provided by Chrissy Taylor and Lee Broughton, Stephanie and Tim Ingrassia, Ashley Leeds and Christopher Harland, Susan Hayden, John and Susan Horseman Collection/Horseman Foundation, The Keith Haring Foundation Exhibition Fund, the National Endowment for the Arts, Brooke Garber Neidich and Daniel M. Neidich, and Nancy and Fred Poses.\u003c/p\u003e\u003cp\u003eAdditional support is provided by Furthermore: a program of the J. M. Kaplan Fund and Komal Shah and Gaurav Garg.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/828339/thomafoundation-positive.jpg\" style=\" height: 36px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u003cimg src=\"https://whitneymedia.org/assets/image/827961/___.png\" style=\"height:36px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp;\u003cimg src=\"https://whitneymedia.org/assets/image/818156/TER_Primary_Lockup_Small.jpg\" style=\" height: 36px;\"\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/828473/2018-Horizontal-Logo-with-url-thumb_0.png\" style=\"height:56px;\"\u003e\u003c/p\u003e","primary_media_id":54893,"override_media_id":null,"sign_media_id":null,"feature_id":49,"artwork_series_id":null,"installation_series_id":2558,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“Her work has helped to prove that modernism and indigeneity can coexist across a range of mediums and materials, including the hybrid of collage and abstract painting that has become a signature style.” —\u003ca href=\"https://www.vulture.com/article/jaune-quick-to-see-smith-artist-profile-memory-map.html\"\u003e\u003cem\u003eNew York Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“After working tirelessly to ‘break the buckskin ceiling,’ the artist and activist comes to the Whitney with a retrospective that redefines what ‘American’ means.” —\u003ca href=\"https://www.nytimes.com/2023/04/20/arts/design/jaune-quick-to-see-smith-whitney-art.html\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Bringing the experience of Indigenous communities to the fore and drawing on a wide range of art-historical references, Smith’s work challenges commonly held conceptions of history and explores contemporary American life.” —\u003ca href=\"https://www.apollo-magazine.com/jaune-quick-to-see-smith-whitney-new-york/\"\u003e\u003cem\u003eApollo Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“…a feeling that the paintings and installations are at home in these galleries, lovingly hung by true believers in her art and, at once, something entirely new.” —\u003ca href=\"https://thevillagesun.com/at-the-whitney-a-powerful-native-american-voice-and-a-21st-century-visionary\"\u003e\u003cem\u003eThe Village Sun\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Smith is a visionary artist who should be far better known by the public and accepted into the discourse of contemporary American art. This exhibition should help push in that long-overdue direction.” —\u003ca href=\"https://www.artandantiquesmag.com/memory-map/\"\u003e\u003cem\u003eArt \u0026amp; Antiques Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Smith refuses the aloofness of the white avant-garde in favor of something fierce and necessary—and, tragic to say, endlessly relevant for our time.” —\u003ca href=\"https://4columns.org/d-souza-aruna/jaune-quick-to-see-smith\"\u003e\u003cem\u003e4Columns\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“…Smith is both a force for reckoning and a force to be reckoned with.” —\u003ca href=\"https://www.newyorker.com/goings-on-about-town/art/jaune-quick-to-see-smith-2023\"\u003e\u003cem\u003eThe New Yorker\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Step into the captivating world of Jaune Quick-to-See Smith's exhibition at the Whitney Museum, and prepare to be moved by the profound depth and resonance of her work.” —\u003ca href=\"https://www.artandobject.com/news/3-shows-female-artists-see-nyc-spring\"\u003e\u003cem\u003eArt \u0026amp; Object\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“[Smith] more than just takes up space there, she owns it.” —\u003ca href=\"https://www.forbes.com/sites/chaddscott/2023/05/31/juane-quick-to-see-smith-continues-breaking-the-buckskin-ceiling/?sh=3749ab2e404e\"\u003e\u003cem\u003eForbes\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“More specific than the work of exposing the constructed nature of our national history, then, Smith’s art realigns art history, an intervention that is especially significant because it is staged within the Whitney’s halls.” —\u003ca href=\"https://www.studiointernational.com/index.php/jaune-quick-to-see-smith-memory-map-review-whitney-museum-of-american-art-new-york\"\u003e\u003cem\u003eStudio International\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“This prolific and impactful artist Jaune Quick-to-See Smith, with her very apt name, is an artist to seek out.” —\u003ca href=\"https://www.buddhistdoor.net/features/how-we-perceive-and-are-perceived-memory-map-the-art-of-jaune-quick-to-see-smith/\"\u003e\u003cem\u003eBuddhistdoor Global\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Artist Jaune Quick-to-See Smith certainly has her own way of seeing—and painting—America.”\u0026nbsp;—\u003ca href=\"https://www.cbsnews.com/video/jaune-quick-to-see-smith-raising-indigenous-voices-throughout-her-art/\"\u003e\u003cem\u003eCBS Sunday Morning\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"\u003cp\u003eJaune Quick-to-See Smith on the occasion of \u003ca href=\"/exhibitions/jaune-quick-to-see-smith\"\u003eJaune Quick-to-See Smith: Memory Map\u003c/a\u003e.\u003c/p\u003e","videos_description":"","popularity":0.9052287581699346,"created_at":"2020-11-18T01:30:35.564-05:00","updated_at":"2026-07-29T12:36:10.494-04:00","block_editor":{"data":{"id":"3567","type":"block_editor","attributes":{"id":3567,"exhibition_id":927,"page_id":null,"created_at":"2025-06-16T12:38:13.014-04:00","updated_at":"2025-06-16T12:38:13.014-04:00","regions":[]}}}}},{"id":"166","type":"exhibition","attributes":{"id":166,"title":"Stuart Davis: In Full Swing","start_time":"2016-06-10T00:00:00.000-04:00","end_time":"2016-09-25T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/stuart-davis","primary_text":"\u003cp class=\"large\"\u003eStuart Davis (1892–1964) is one of the preeminent figures of American modernism. With a long career that stretched from the early twentieth century well into the postwar era, he brought a distinctively American accent to international modernism. Faced with the choice between realism and pure abstraction early in his career, Davis invented a vocabulary that harnessed the grammar of abstraction to the speed and simultaneity of modern America. By merging the bold, hard-edged style of advertising with the conventions of European avant-garde painting, he created an art endowed with the vitality and dynamic rhythms that he saw as uniquely modern and American. In the process, he achieved a rare synthesis: an art that is resolutely abstract, yet at the same time exudes the spirit of popular culture.\u003c/p\u003e\u003cp class=\"large\"\u003eThe exhibition is unusual in its focus on Davis’s mature career and on his working method of using preexisting motifs as springboards for new compositions. From 1939 on, Davis rarely painted a work that did not make reference, however hidden, to one or more of his earlier compositions. Such “appropriation” is a distinctive aspect of his mature art. This presentation will be the first major exhibition to consistently hang Davis’s later works side by side with the earlier ones that inspired them. With approximately one hundred works, from his paintings of consumer products in the early 1920s to the work left on his easel at his death in 1964, the exhibition will highlight Davis’s unique ability to transform the chaos of everyday life into a structured yet spontaneous order that communicates the wonder and joy that can be derived from the color and spatial relationships of everyday things.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eStuart Davis: In Full Swing\u003c/em\u003e is co-organized by Barbara Haskell, Curator, Whitney Museum of American Art, New York, and Harry Cooper, Curator and Head of Modern Art, National Gallery of Art, Washington, DC, with Sarah Humphreville, Curatorial Assistant, Whitney Museum of American Art, New York.\u003c/p\u003e\u003cp\u003e\u003cem\u003eStuart Davis: In Full Swing\u003c/em\u003e is organized by the Whitney Museum of American Art, New York, and the National Gallery of Art, Washington, DC.\u003cbr\u003e\u003cbr\u003eIn New York, the exhibition is sponsored by\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://www.morganstanley.com/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818157/morganstanley-175w.jpg\" alt=\"Morgan Stanley\"\u003e\u003c/a\u003e\u003cbr\u003e\u003cbr\u003eMajor support is provided by the Henry Luce Foundation and the Terra Foundation for American Art.\u003cbr\u003e\u003cbr\u003eSignificant support is provided by the Philip and Janice Levin Foundation and Ted and Mary Jo Shen.\u003cbr\u003e\u003cbr\u003eGenerous support is provided by Barney A. Ebsworth, Cheryl and Blair Effron, Karen and Kevin Kennedy, Arlene and Robert Kogod, Garrett and Mary Moran, and Laurie M. Tisch.\u003cbr\u003e\u003cbr\u003eAdditional support is provided by the Alturas Foundation, Jeanne Donovan Fisher, and Pitt and Barbara Hyde.\u003cbr\u003e\u003cbr\u003eMajor endowment support is also provided by the Barbara Haskell American Fellows Legacy Fund.\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://www.hluce.org/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818155/Lucelogo_SMALL.jpg\" alt=\"The Henry Luce Foundation\"\u003e\u003c/a\u003e\u003ca href=\"http://www.terraamericanart.org/\"\u003e\u0026nbsp;\u003cimg src=\"https://whitneymedia.org/assets/image/818156/TER_Primary_Lockup_Small.jpg\" alt=\"TERRA\"\u003e\u003c/a\u003e\u003cbr\u003e\u003cbr\u003eThis exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.\u003c/p\u003e","primary_media_id":9148,"override_media_id":null,"sign_media_id":null,"feature_id":8,"artwork_series_id":null,"installation_series_id":297,"perspective_series_id":null,"press_highlights":"\u003cp\u003e\"He Made It American\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nybooks.com/articles/2016/10/13/stuart-davis-full-swing-made-it-american/\"\u003eThe New York Review of Books\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"An Antidote to Depression-Era Gloom\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.wsj.com/articles/an-antidote-to-depression-era-gloom-1472226879\"\u003eThe Wall Street Journal\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Abstract Meets Pop Culture in Stuart Davis' Iconic Art\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.wnyc.org/story/stuart-davis-full-swing-whitney/\"\u003eWNYC\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Stuart Davis at the Whitney\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"https://www.rockefellercenter.com/blog/2016/08/30/stuart-davis-whitney/\"\u003eFront \u0026amp; Center at Rockefeller Center\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Stuart Davis: A Little Matisse, a Lot of Jazz, All American\"\u003cbr\u003e—\u003ca href=\"http://www.nytimes.com/2016/06/10/arts/design/stuart-davis-heady-abstract-realist-at-the-whitney.html?rref=collection%2Fsectioncollection%2Farts\u0026action=click\u0026contentCollection=arts\u0026region=stream\u0026module=stream_unit\u0026version=latest\u0026contentPlacement=6\u0026pgtype=sectionfront\u0026_r=0\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Review: Stuart Davis at the Whitney\"\u003cbr\u003e—\u003ca href=\"http://www.wnyc.org/story/review-stuart-davis-whitney/\" target=\"_blank\"\u003e\u003cem\u003eWNYC\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Davis at the Whitney: Putting Some Pop in Abstract Art\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.wsj.com/articles/stuart-davis-at-the-whitney-putting-some-pop-in-abstract-art-1465339060\" target=\"_blank\"\u003eThe Wall Street Journal\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Stroke of Genius: A Peek at NYC's Summer Art Exhibits\"\u003cbr\u003e\u003cem\u003e—\u003ca href=\"http://www.villagevoice.com/arts/stroke-of-genius-a-peek-at-nycs-summer-art-exhibits-8678331\" target=\"_blank\"\u003eThe Village Voice\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"In this beautifully paced show, hung by the Whitney curator Barbara Haskell, Davis’s earlier phases prove most absorbing. They detail stages of a personal ambition in step with large ideals.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.newyorker.com/magazine/2016/06/20/stuart-davis-modern-man\" target=\"_blank\"\u003eThe New Yorker\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"High-spirited Romp: the Best of Stuart Davis\"\u003cbr\u003e—\u003ca href=\"http://observer.com/2016/07/high-spirited-romp-the-best-of-stuart-davis/\" target=\"_blank\"\u003e\u003cem\u003eNew York Observer\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Davis’s musical paintings burst with musicality.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.brooklynrail.org/2016/07/music/hearing-with-your-eyes\" target=\"_blank\"\u003eBrooklyn Rail\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"\u003cem\u003eStuart Davis: In Full Swing\u003c/em\u003e, New York —\u0026nbsp;‘Soul-warming’\"\u003cbr\u003e—\u003ca href=\"http://www.ft.com/cms/s/0/cd4703fc-3c8a-11e6-8716-a4a71e8140b0.html\" target=\"_blank\"\u003e\u003cem\u003eFinancial Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Showcasing his work from 1921 to his death in 1964, this exhibition allows the visitor to fully appreciate the artist’s interest in going back through his older sketches and paintings to find inspiration.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.studiointernational.com/index.php/stuart-davis-in-full-swing-review\" target=\"_blank\"\u003eStudio International\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"\u003cem\u003eStuart Davis: In Full Swing\u003c/em\u003e, the well-chosen survey of more than 80 significant works now at the Whitney Museum of American Art, is reason for rejoicing.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.wsj.com/articles/stuart-davis-in-full-swing-review-an-artist-who-resolved-to-be-modern-1467064709\" target=\"_blank\"\u003eThe Wall Street Journal\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Back to the beginning with Stuart Davis\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://theartnewspaper.com/shows/back-to-the-beginning-with-stuart-davis/\" target=\"_blank\"\u003eThe Art Newspaper\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"He created art that merged European avant-garde abstraction with the energy of familiar American signs and symbols, thus setting the stage for Jasper Johns, Ed Ruscha, Barbara Kruger, and countless 'word and image' artists who followed.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"https://leslierankow.wordpress.com/2016/06/02/avis-berman-curator-and-writer-documents-the-radical-transformations-of-20th-century-american-modernism/\" target=\"_blank\"\u003eLeslie Rankow Blog\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003e\"\u003c/em\u003eA Bridge Between New York and Paris: on Stuart Davis at the Whitney Museum\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://theartnewspaper.com/comment/reviews/exhibitions/a-bridge-between-new-york-and-paris-on-stuart-davis-at-the-whitney-museum/\" target=\"_blank\"\u003eThe Art Newspaper\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"This Davis exhibit is full of pop, sizzle, exuberance and patriotism.\"\u003cbr\u003e—\u003ca href=\"http://www.rep-am.com/entertainment/best_bets/969220.txt\" target=\"_blank\"\u003e\u003cem\u003eRepublican American\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Upbeat and Edgy: Stuart Davis at the Whitney\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://hyperallergic.com/312778/upbeat-and-edgy/\" target=\"_blank\"\u003eHyperallergic\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Stuart Davis Was a Genius of Modern Style Before Style Became a Bad Word\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"https://news.artnet.com/opinion/stuart-davis-at-the-whitney-573791\" target=\"_blank\"\u003eArtnet News\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e","audio_description":"","videos_description":"","popularity":0.7254901960784313,"created_at":"2017-04-03T12:47:40.000-04:00","updated_at":"2026-07-29T12:36:10.072-04:00","block_editor":{"data":{"id":"2293","type":"block_editor","attributes":{"id":2293,"exhibition_id":166,"page_id":null,"created_at":"2025-06-16T12:34:25.948-04:00","updated_at":"2025-06-16T12:34:25.948-04:00","regions":[]}}}}},{"id":"151","type":"exhibition","attributes":{"id":151,"title":"Archibald Motley: Jazz Age Modernist","start_time":"2015-10-02T00:00:00.000-04:00","end_time":"2016-01-17T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/archibald-motley","primary_text":"\u003cp class=\"large\"\u003eArchibald John Motley Jr. (1891–1981) was a bold and highly original modernist and one of the great visual chroniclers of twentieth-century American life. He first came to prominence in the 1920s during the early days of the Harlem Renaissance—the cultural flowering of African American art, music, and literature that extended beyond the New York neighborhood of its name to other cities, notably Chicago, where Motley spent most of his life. Motley had a long career and enjoyed recognition for his work early on, yet went through subsequent periods of struggle and obscurity.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eMotley was born in New Orleans, but his family moved to Chicago when he was quite young, and he later became one of the first black artists to attend the School of the Art Institute of Chicago. His training there was academic, rigorously focused on the human figure, and steeped in European tradition. Motley’s sophisticated understanding of art history is especially apparent in his sympathetic portraits, but it was a history that he challenged and advanced with his raucous scenes of everyday urban life.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eWhile Edward Hopper, Thomas Hart Benton, and Reginald Marsh became much more famous than Motley for their American scenes, he also developed and elucidated his own archetypes of place and people in this country, albeit unapologetically based on African American subject matter. As the work on view in \u003cem\u003eArchibald Motley: Jazz Age Modernist\u003c/em\u003e\u0026nbsp;eloquently attests, Motley rightly holds a place among the great American modernists. The artist created a far more daring visual language than many of his contemporaries, fusing vivid narrative with dizzying spatial distortion and jarring hues to produce striking settings for characters of diverse racial backgrounds and social classes. And while his portrayals range from serene and august portraits to abrasive or outrageous caricatures, all were his instruments for addressing the poignancy, folly, and complexity of modern life.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eArchibald Motley: Jazz Age Modernist\u003c/em\u003e is organized by the Nasher Museum at Duke University and curated by Professor Richard J. Powell. The installation at the Whitney Museum is overseen by Carter E. Foster, Steven and Ann Ames Curator of Drawing.\u003c/p\u003e\u003cp\u003e\u003cem\u003eArchibald Motley: Jazz Age Modernist\u003c/em\u003e is organized by the Nasher Museum of Art at Duke University.\u003c/p\u003e\u003cp\u003eThis exhibition is made possible by the Terra Foundation for American Art; the National Endowment for the Humanities:\u0026nbsp;\u003cem\u003eExploring the human endeavor\u003c/em\u003e; and the Henry Luce Foundation.\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://www.terraamericanart.org/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818156/TER_Primary_Lockup_Small.jpg\"\u003e\u003c/a\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u003ca href=\"http://arts.gov/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818164/neh_logo_horizontal_reverse.jpg\"\u003e\u003c/a\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u003ca href=\"http://www.hluce.org/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818155/Lucelogo_SMALL.jpg\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eAny views, findings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities.\u003c/p\u003e\u003cp\u003eAdditional support for the Whitney’s presentation of this exhibition is provided by Beatrice Cummings Mayer, an anonymous donor, and an endowment established by Donna Perret Rosen and Benjamin M. Rosen.\u003c/p\u003e","primary_media_id":9212,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":284,"installation_series_id":285,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“Valerie Gerrard Browne: Heir to Painter Archibald Motley Reflects on Legacy of the ‘Jazz Age Modernist’”\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.culturetype.com/2016/01/16/valerie-gerrard-browne-heir-to-painter-archibald-motley-reflects-on-legacy-of-the-jazz-age-modernist/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eCulture Type\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"If the purpose of an exhibition is to open your eyes and send your mind spinning in all sorts of unexpected directions [\u003cem\u003eArchibald Motley: Jazz Age Modernist\u003c/em\u003e] should be slotted at the top of your must-do list.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://hyperallergic.com/264033/another-view-of-america-the-paintings-of-archibald-motley/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eHyperallergic\u003c/a\u003e\u003c/em\u003e\u003cbr\u003e\u003cbr\u003eWatch: Interview with Curator Richard J. Powell\u003cbr\u003e—\u003ca href=\"http://www.charlierose.com/watch/60658785\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eCharlie Rose\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Archibald Motley’s pictures at the Whitney Museum are a revelation\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.apollo-magazine.com/archibald-motleys-pictures-at-the-whitney-museum-are-a-revelation/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eApollo\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"A Lesser-Known Modernism Inspired by African-American Culture\"\u003cbr\u003e\u003cem\u003e—\u003ca href=\"http://www.nytimes.com/2015/10/02/arts/design/a-lesser-known-modernism-inspired-by-african-american-culture.html?_r=1\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Archibald Motley, The Painter Who Captured Black America in the Jazz Age and Beyond\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.thedailybeast.com/articles/2015/09/30/archibald-motley-the-painter-who-captured-black-america-in-the-jazz-age-and-beyond.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eThe Daily Beast\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Some of the best prewar American modern art\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.wsj.com/articles/archibald-motley-jazz-age-modernist-review-1444167518\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eThe Wall Street Journal\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"[Motley's] discomfiting dreamscapes may make you smile or squirm, but they do not belong in obscurity.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.ft.com/intl/cms/s/0/d0e1412c-83de-11e5-8e80-1574112844fd.html?siteedition=intl\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eThe Financial Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"A Blues Aesthetic at the Whitney\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nypress.com/city-arts-news/20160104/a-blues-aesthetic-at-the-whitney\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eNew York Press\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003e\"\u003c/em\u003eThe retrospective revealed the range of Motley’s work, including his early realistic portraits, vivid female nudes and portrayals of performers and cafes, late paintings of Mexico, and satirical scenes.”\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.artinamericamagazine.com/reviews/archibald-motley/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eArt in America\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e","audio_description":null,"videos_description":null,"popularity":0.8856209150326797,"created_at":"2017-04-03T12:47:30.000-04:00","updated_at":"2026-07-29T12:36:09.911-04:00","block_editor":{"data":{"id":"2269","type":"block_editor","attributes":{"id":2269,"exhibition_id":151,"page_id":null,"created_at":"2025-06-16T12:34:24.530-04:00","updated_at":"2025-06-16T12:34:24.530-04:00","regions":[]}}}}},{"id":"96","type":"exhibition","attributes":{"id":96,"title":"Lyonel Feininger: At the Edge of the World","start_time":"2011-06-30T00:00:00.000-04:00","end_time":"2011-10-16T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/lyonel-feininger","primary_text":"\u003cp class=\"large\"\u003eBorn and raised in New York, Lyonel Feininger (1871–1956) moved at the age of sixteen to Germany, where he became one of the leading practitioners of German Expressionism and the Bauhaus. In the late 1930s, when the Nazi campaign against modern art forced him to flee back to New York after an absence of fifty years, his marriage of abstraction and recognizable imagery made him a beloved artist in the United States. Long acknowledged as a major figure of the Bauhaus, Feininger is renowned for his romantic, crystalline paintings of architecture and seascapes. Less well known are the whimsical aspects of his work: his pioneering \u003cem\u003eChicago Sunday Tribune\u003c/em\u003e\u0026nbsp;comic strips; his figurative, Expressionist compositions; his photographs; and his miniature hand-carved wooden figures and buildings, known as \u003cem\u003eCity at the Edge of the World\u003c/em\u003e. This retrospective is the first in Feininger’s native country in more than forty-five years, and the first ever to include the full breadth of his art.\u003cbr\u003e\u0026nbsp;\u003cbr\u003eThe exhibition will be accompanied by a richly illustrated monograph with a feature essay that provides a broad overview of Feininger’s career, tracing his relationships with movements and organizations that defined the development of modern art, including Cubism, the Blaue Reiter, the Blue Four, the Bauhaus, and Black Mountain College. Additional essays focus on Feininger’s comics, his photographs, his musical compositions, and his reputation in Germany.\u0026nbsp;\u003cbr\u003e\u0026nbsp;\u003cbr\u003e\u003cem\u003eLyonel Feininger: At the Edge of the World\u003c/em\u003e is organized by Barbara Haskell, with the assistance of Sasha Nicholas. The exhibition travels to the Montreal Museum of Fine Arts, January 20–May 13, 2012.\u003c/p\u003e\u003cp\u003e\u003cem\u003eLyonel Feininger: At the Edge of the World\u003c/em\u003e\u0026nbsp;was organized by the Whitney Museum of American Art, New York in collaboration with the Montreal Museum of Fine Arts.\u003c/p\u003e\u003cp\u003eThis exhibition and catalogue are made possible, in part, by generous grants from the Terra Foundation for American Art and the Henry Luce Foundation.\u003c/p\u003e\u003cp\u003e\u003ca\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818156/TER_Primary_Lockup_Small.jpg\"\u003e\u003c/a\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u003ca\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818155/Lucelogo_SMALL.jpg\"\u003e\u003c/a\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eMajor underwriting for this exhibition is provided by the Anna-Maria and Stephen Kellen Foundation, in memory of Stephen M. Kellen.\u003c/p\u003e\u003cp\u003eAdditional support is provided by Ted and Mary Jo Shen, the Karen and Kevin Kennedy Foundation, Susan R. Malloy, Déborah, André, and Dan Mayer, Carol and Paul Miller, Joseph Edelman and Pamela Keld, Geraldine S. Kunstadter, the Karen and Paul Levy Family Foundation, Marica and Jan Vilcek, the Consulate General of the Federal Republic of Germany, The Donald and Barbara Zucker Family Foundation, and several anonymous donors.\u003c/p\u003e\u003cp\u003eMedia Partner \u003ca href=\"http://www.wnyc.org/\"\u003eWNYC\u003c/a\u003e\u003c/p\u003e","primary_media_id":4350,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":246,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"\u003cp\u003eReview: \" a poignant, revelatory survey\"\u003cbr\u003e—\u003ca href=\"http://www.nytimes.com/2011/07/22/arts/design/lyonel-feininger-show-at-the-whitney-review.html\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eReview: \"a revelation\"\u003cbr\u003e—\u003ca href=\"http://online.wsj.com/article/SB10001424052702303365804576429793649661476.html?mod=googlenews_wsj\"\u003e\u003cem\u003eThe Wall Street Journal\u003cbr\u003e\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eReview: \"Known mostly as a loyal Bauhaus cubist, [Feininger] emerges here as a complex master with a subtle sense of light and line.\"\u003cbr\u003e—\u003ca href=\"http://www.ft.com/cms/s/2/f19d174a-b11c-11e0-a43e-00144feab49a.html#ixzz1STlZvGKH\"\u003e\u003cem\u003eFinancial Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\"a rewarding and substantial overview of this underexposed artist’s work\"\u003cbr\u003e—\u003ca href=\"http://www.thirteen.org/sundayarts/blog/museums/lyonel-feininger-at-the-edge-of-the-world/1437/\"\u003e\u003cem\u003eWNET Sunday Arts\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Lyonel Feininger is Living On the Edge at the Whitney\"\u003cbr\u003e—\u003ca href=\"http://www.observer.com/2011/07/lyonel-feininger-is-living-on-the-edge-at-the-whitney/\"\u003e\u003cem\u003eThe New York Observer\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eInterview with curator Barbara Haskell\u003cbr\u003e—\u003ca href=\"http://www.artinfo.com/news/story/37955/artist-dossier-lyonel-feininger/\"\u003e\u003cem\u003eArtInfo\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eAt the Edge of the World\u003c/em\u003e is named a summer must-see.\u003cbr\u003e—\u003ca href=\"http://www.nytimes.com/2011/03/17/arts/design/promising-us-art-exhibits-for-2011.html?_r=3\u0026scp=1\u0026sq=feininger\u0026st=cse\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":null,"videos_description":null,"popularity":0.6078431372549019,"created_at":"2017-04-03T12:46:57.000-04:00","updated_at":"2026-07-29T12:36:09.656-04:00","block_editor":{"data":{"id":"2181","type":"block_editor","attributes":{"id":2181,"exhibition_id":96,"page_id":null,"created_at":"2025-06-16T12:34:12.167-04:00","updated_at":"2025-06-16T12:34:12.167-04:00","regions":[]}}}}},{"id":"936","type":"exhibition","attributes":{"id":936,"title":"Jennifer Packer: The Eye Is Not Satisfied With Seeing","start_time":"2021-10-30T00:00:00.000-04:00","end_time":"2022-04-17T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/jennifer-packer","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/18966\"\u003eJennifer Packer\u003c/a\u003e’s paintings and drawings combine observation, memory, and improvisation. Featuring over thirty works from the past decade, \u003cem\u003eThe Eye Is Not Satisfied With Seeing\u003c/em\u003e is the largest survey of Packer’s practice to date. Her intimate renderings of friends, family, and flowers evoke the art historical genres of portraiture and still life, while also highlighting the politics of representation.\u003c/p\u003e\u003cp class=\"large\"\u003eHer paintings, most recently seen at the Whitney in the \u003ca href=\"/exhibitions/2019-biennial\"\u003e2019 Biennial\u003c/a\u003e, slide between the fidelity of depiction and the freedom of abstraction. This avowal of both clarity and opacity endows her paintings with the same complexity she sees in the Black sitters that populate her art—and the world. “My inclination to paint,” Packer has said, “especially from life, is a completely political one. We belong here. We deserve to be seen and acknowledged in real time. We deserve to be heard and to be imaged with shameless generosity and accuracy.”\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eJennifer Packer: The Eye Is Not Satisfied With Seeing\u003c/em\u003e was initiated by Serpentine and curated by Melissa Blanchflower, Curator, Exhibitions and Public Art with Natalia Grabowska, Assistant Curator. The presentation at the Whitney is organized by Rujeko Hockley, Arnhold Associate Curator, and Jane Panetta, Nancy and Fred Poses Curator and Director of the Collection, with Ambika Trasi, Curatorial Assistant.\u003c/p\u003e\u003cp\u003eThe lead sponsor for \u003cem\u003eJennifer Packer: The Eye Is Not Satisfied with Seeing\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:20px;\"\u003e\u003c/p\u003e\u003cp\u003eThis exhibition is also sponsored by\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/826580/nt-stack-2-line__1__copy.png\" style=\"height:40px;\"\u003e\u003c/p\u003e\u003cp\u003eGenerous support is provided by Judy Hart Angelo.\u0026nbsp;\u003c/p\u003e\u003cp\u003eSignificant support is provided by Candy and Michael Barasch, Further Forward Foundation, and Dawn and David Lenhardt.\u0026nbsp;\u0026nbsp;\u003c/p\u003e\u003cp\u003eAdditional support is provided by Bernard I. Lumpkin and Carmine D. Boccuzzi and Jackson Tang.\u0026nbsp;\u003c/p\u003e","primary_media_id":49154,"override_media_id":null,"sign_media_id":null,"feature_id":40,"artwork_series_id":null,"installation_series_id":2460,"perspective_series_id":null,"press_highlights":"\u003cp\u003e\". . . the show is as beautiful as it is haunting.\" \u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://brooklynrail.org/2021/12/art/Jennifer-Packer-with-Amber-Jamilla-Musser\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe Brooklyn Rail\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Jennifer Packer [. . .] rises to a next level of painting from life, the photograph, and the imagination.\" \u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.vulture.com/article/best-new-york-art-shows-2021.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eVulture\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"In a world oversaturated with figurative work, Packer’s paintings stand apart, showing us a world that is as multifaceted and muddled as real life.\" \u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.artsy.net/article/artsy-editorial-whitney-jennifer-packers-portraits-capture-messiness-memory-trauma\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eArtsy\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\". . . Jennifer Packer is [. . .] unusually gifted at grounding emotion in the sort of precise visual details [. . .] that put viewers on intimate terms with the present moment.\" \u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.newyorker.com/goings-on-about-town/art/jennifer-packer-whitney\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New Yorker\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"In her powerful solo show at the Whitney, [Jennifer Packer] peers beyond the surface of grief.\" \u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.villagevoice.com/2021/12/01/jennifer-packers-almost-all-seeing-eye/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe Village Voice\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"In a virtuosic solo show at the Whitney, [Jennifer Packer] finds her subjects’ complex humanity, and offers a new way forward for representation.\" \u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.nytimes.com/2021/11/18/arts/design/jennifer-packer-whitney.html?searchResultPosition=1\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":null,"videos_description":null,"popularity":0.9248366013071896,"created_at":"2021-03-10T00:13:10.904-05:00","updated_at":"2026-07-27T16:56:11.956-04:00","block_editor":{"data":{"id":"3579","type":"block_editor","attributes":{"id":3579,"exhibition_id":936,"page_id":null,"created_at":"2025-06-16T12:38:13.194-04:00","updated_at":"2025-06-16T12:38:13.194-04:00","regions":[{"data":{"id":"22204","type":"region","attributes":{"id":22204,"position":1,"columns":6,"block_editor_id":3579,"created_at":"2025-02-19T09:52:04.500-05:00","updated_at":"2025-02-19T09:52:04.500-05:00","region_components":[{"data":{"id":"40483","type":"region_component","attributes":{"id":40483,"component_id":17,"component_type":"JumplinkComponent","position":1,"region_id":22204,"created_at":"2025-02-19T09:52:04.507-05:00","updated_at":"2025-02-19T09:52:04.517-05:00","component":{"data":{"id":"17","type":"component","attributes":{"id":17,"exhibition_id":936,"text":"Interview"}}}}}},{"data":{"id":"40484","type":"region_component","attributes":{"id":40484,"component_id":14738,"component_type":"TextComponent","position":2,"region_id":22204,"created_at":"2025-02-19T09:52:04.520-05:00","updated_at":"2025-02-19T09:52:04.530-05:00","component":{"data":{"id":"14738","type":"component","attributes":{"id":14738,"exhibition_id":936,"text":"\u003ch2\u003e\u003ca href=\"https://www.culturedmag.com/jennifer-packer-and-hans-ulrich-obrist-discuss-the-meaning-and-method-of-painting-today/\"\u003eJennifer Packer and Hans Ulrich Obrist Discuss the Meaning and Method of Painting Today\u003c/a\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003eWhat can a painting suggest about a meaningful life? On the occasion of \u003cem\u003eJennifer Packer: The Eye Is Not Satisfied With Seeing\u003c/em\u003e, Hans Ulrich Obrist talks with Jennifer Packer to find out.\u003c/p\u003e\u003cp class=\"large\"\u003eRead this interview extract in \u003ca href=\"https://www.culturedmag.com/jennifer-packer-and-hans-ulrich-obrist-discuss-the-meaning-and-method-of-painting-today/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eCultured Magazine\u003c/em\u003e\u003c/a\u003e.\u003c/p\u003e\u003cp class=\"large\"\u003eRead the full interview in the \u003ca href=\"https://shop.whitney.org/jennifer-packer-the-eye-is-not-satisfied-with-seeing.html\"\u003eexhibition catalogue\u003c/a\u003e.\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"22205","type":"region","attributes":{"id":22205,"position":2,"columns":6,"block_editor_id":3579,"created_at":"2025-02-19T09:52:04.535-05:00","updated_at":"2025-02-19T09:52:04.535-05:00","region_components":[{"data":{"id":"40485","type":"region_component","attributes":{"id":40485,"component_id":13956,"component_type":"MediaComponent","position":1,"region_id":22205,"created_at":"2025-02-19T09:52:04.542-05:00","updated_at":"2025-02-19T09:52:04.550-05:00","component":{"data":{"id":"13956","type":"component","attributes":{"id":13956,"exhibition_id":936,"media_id":50039,"url":null}}}}}}]}}}]}}}}},{"id":"313","type":"exhibition","attributes":{"id":313,"title":"Vida Americana: Mexican Muralists Remake American Art, 1925–1945","start_time":"2020-02-17T00:00:00.000-05:00","end_time":"2021-01-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/vida-americana","primary_text":"\u003cp class=\"large\"\u003eMexico underwent a radical cultural transformation at the end of its Revolution in 1920. A new relationship between art and the public was established, giving rise to art that spoke directly to the people about social justice and national life. The model galvanized artists in the United States who were seeking to break free of European aesthetic domination to create publicly significant and accessible native art. Numerous American artists traveled to Mexico, and the leading Mexican muralists—José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros—spent extended periods of time in the United States, executing murals, paintings, and prints; exhibiting their work; and interacting with local artists. With nearly 200 works by over sixty Mexican and American artists, this exhibition reorients art history by revealing the profound impact the Mexican muralists had on their counterparts in the United States during this period and the ways in which their example inspired American artists both to create epic narratives about American history and everyday life and to use their art to protest economic, social, and racial injustices.\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition is organized by Barbara Haskell, curator, with Marcela Guerrero, assistant curator; Sarah Humphreville, senior curatorial assistant; and Alana Hernandez, former curatorial project assistant.\u003c/p\u003e\u003cp\u003eThe lead sponsor for \u003cem\u003eVida Americana: Mexican Muralists Remake American Art, 1925–1945\u003c/em\u003e is 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:36px;\"\u003e\u003c/p\u003e\u003cp\u003eThis exhibition is also sponsored by Citi; Citibanamex, its Mexican affiliate; and Delta and Aeromexico.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/823481/citi_1c_pos_rgb.jpg\" style=\"height: 31px;\"\u003e \u003cspan\u003eand \u0026nbsp;\u003c/span\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/823482/Citibanamex_k.png\" style=\"height:33px;\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824069/Delta-AM_Horizontal_2.png\" style=\"height:35px;\"\u003e\u003c/p\u003e\u003cp\u003eMajor support is provided by the Judy Hart Angelo Exhibition Fund, the Barbara Haskell American Fellows Legacy Fund, the Henry Luce Foundation, the Terra Foundation for American Art, and the Whitney’s National Committee.\u003c/p\u003e\u003cp\u003eGenerous support is provided by The Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the National Endowment for the Arts, and Ted and Mary Jo Shen.\u003c/p\u003e\u003cp\u003eSignificant support is provided by the Alturas Foundation, Paul Arnhold, Wes Gordon and the Arnhold Foundation, the Arthur F. and Alice E. Adams Charitable Foundation, Blair and Cheryl Effron, Garrett Moran and Mary Penniman Moran, and Laurie M. Tisch.\u003c/p\u003e\u003cp\u003eAdditional support is provided by Tony Bechara; Estrellita and Daniel Brodsky; Jeanne Donovan Fisher; the Garcia Family Foundation; the Judy and Stanley Katz Family Foundation; and the Robert Lehman Foundation, Inc.\u003c/p\u003e\u003cp\u003eCuratorial research and travel were funded by the Steven \u0026amp; Alexandra Cohen Foundation.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/823512/LUCE-Logo-Full-Mono.jpg\" style=\"height:30px;\"\u003e\u0026nbsp;\u003cimg src=\"https://whitneymedia.org/assets/image/823314/TER_Primary_Lockup_Small.jpg\" style=\"height:30px;\"\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/823524/2018-LogoBW-Horizontal.jpg\" style=\"height:30px;\"\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824426/MEX_INBAL_LOGO_B_W2.jpg\" style=\"height:48px;\" alt=\"INBAL\"\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824211/Logo_MCI_NY__1__copy.jpg\" style=\"height:55px;\" alt=\"Mexican Cultural Institute New York\"\u003e\u0026nbsp;\u003cimg src=\"https://whitneymedia.org/assets/image/824212/RELEX_horizontal_AI_copy.jpg\" style=\"height:24px;\" alt=\"Relaciones Exteriores\"\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eNew York\u003c/em\u003e magazine is the exclusive media sponsor.\u003c/p\u003e","primary_media_id":41754,"override_media_id":46366,"sign_media_id":null,"feature_id":32,"artwork_series_id":null,"installation_series_id":2326,"perspective_series_id":null,"press_highlights":"\u003cp\u003e\"‘Vida Americana’ Is the Most Relevant Show of the 21st Century\" —\u003ca href=\"https://www.vulture.com/2020/02/vida-americana-the-most-relevant-show-of-the-21st-century.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eVulture\u0026nbsp;\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"The show is stupendous, and complicated, and lands right on time.\" —\u003ca href=\"https://www.nytimes.com/2020/02/20/arts/design/vida-americana-mexican-muralists-whitney.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"[A]fter 'Vida Americana' the history of American art doesn’t remain quite the same.\" \u003cem\u003e—\u003ca href=\"https://www.wsj.com/articles/vida-americana-mexican-muralists-remake-american-art-1925-1945-review-ideas-without-borders-11582065680\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eThe Wall Street Journal\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"[S]hines a light on the Mexican artists whose politically charged, populist work shaped some of the most significant American artists of the 20th century\" \u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://time.com/5786068/whitney-museum-mexican-muralists/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eTime\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"The exhibition is a major statement from a museum devoted to the history of American art.\" —\u003ca href=\"https://news.artnet.com/exhibitions/whitney-mexican-muralists-exhibition-1703247\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eartnet News\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Beyond the wall: a golden period of exchange between Mexican and US artists is revisited\" \u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.theartnewspaper.com/preview/when-mexican-art-crossed-the-border\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe Art Newspaper\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Vida Americana reveals the seismic impact of Mexican art\"\u003cem\u003e\u0026nbsp;—\u003c/em\u003e\u003ca href=\"http://artdaily.com/news/121062/Exhibition-brings-together-200-works-by-American-and-Mexican-artists#.XlP8u1NKhAZ\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eartdaily\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"[A] gorgeous guide to understanding the importance of social realist muralism and the power of public art\" \u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.juxtapoz.com/news/painting/vida-americana-mexican-muralists-remake-american-art-1925-1945-whitney-museum/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eJuxtapoz\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"[A]n eye-opening new exhibition\"\u003cem\u003e\u0026nbsp;—\u003c/em\u003e\u003ca href=\"https://www.cnn.com/style/article/mexican-muralists-whitney-museum-vida-americana-exhibition/index.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eCNN\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003e\"\u003c/em\u003eThis show . . . added nuance and shading, making a fascinating historical episode seem more remarkable and unlikely than ever.\"—\u003ca href=\"https://www.washingtonpost.com/entertainment/museums/best-art-2020-museums/2020/12/08/36a344ca-2e56-11eb-860d-f7999599cbc2_story.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe Washington Post\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"[S]heds light on the often-neglected influence that Mexican artists had in the earlier part of the 20th century on their American counterparts to explore social issues, injustices and new styles of painting.\" \u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.amny.com/entertainment/arts-entertainment/exploring-the-overlooked-influence-of-mexican-artists-on-american-art-in-new-whitney-exhibit/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eamNewYork\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"","videos_description":"","popularity":0.8790849673202614,"created_at":"2019-03-04T17:50:40.074-05:00","updated_at":"2026-07-27T16:56:10.786-04:00","block_editor":{"data":{"id":"2477","type":"block_editor","attributes":{"id":2477,"exhibition_id":313,"page_id":null,"created_at":"2025-06-16T12:34:40.160-04:00","updated_at":"2025-06-16T12:34:40.160-04:00","regions":[]}}}}},{"id":"1104","type":"exhibition","attributes":{"id":1104,"title":"Whitney Biennial 2024: Even Better Than the Real Thing","start_time":"2024-03-20T00:00:00.000-04:00","end_time":"2024-08-11T00:00:00.000-04:00","member_start_time":"2024-03-14T00:00:00.000-04:00","member_end_time":"2024-03-18T00:00:00.000-04:00","date_override":"","url":"/exhibitions/2024-biennial","primary_text":"\u003cp class=\"large\"\u003eThe eighty-first edition of the Whitney Biennial—the longest-running survey of contemporary art in the United States—features seventy-one artists and collectives grappling with many of today’s most pressing issues. This Biennial is like being inside a “dissonant chorus,\" as participating artist Ligia Lewis described it, a provocative yet intimate experience of distinct and disparate voices that collectively probe the cracks and fissures of the unfolding moment.\u003c/p\u003e\u003cp class=\"large\"\u003eThe exhibition’s subtitle, \u003cem\u003eEven Better Than the Real Thing\u003c/em\u003e, acknowledges that Artificial Intelligence (AI) is complicating our understanding of what is real, and rhetoric around gender and authenticity is being used politically and legally to perpetuate transphobia and restrict bodily autonomy. These developments are part of a long history of deeming people of marginalized race, gender, and ability as subhuman—less than real. In making this exhibition, we committed to amplifying the voices of artists who are confronting these legacies, and to providing a space where difficult ideas can be engaged and considered.\u003c/p\u003e\u003cp class=\"large\"\u003eThis Biennial is a gathering of artists who explore the permeability of the relationships between mind and body, the fluidity of identity, and the growing precariousness of the natural and constructed worlds around us. Whether through subversive humor, expressive abstraction, or non-Western forms of cosmological thinking, to name but a few of their methods, these artists demonstrate that there are pathways to be found, strategies of coping and healing to be discovered, and ways to come together even in a fractured time.\u003c/p\u003e\u003cp class=\"large\"\u003eThe 2024 Whitney Biennial is organized by Chrissie Iles, Anne and Joel Ehrenkranz Curator and Meg Onli, Curator at Large, with Min Sun Jeon and Beatriz Cifuentes. The performance program is organized by Iles and Onli, with guest curator Taja Cheek. The film program is organized by Iles and Onli, with guest curators Korakrit Arunanondchai, asinnajaq, Greg de Cuir Jr, and Zackary Drucker.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2024-biennial/programs\" class=\"btn\"\u003eView the film and performance program\u003c/a\u003e\u003c/p\u003e\u003cp\u003eReview \u003ca href=\"/exhibitions/2024-biennial/accessibility-information\"\u003eaccessibility information\u003c/a\u003e before visiting the 2024 Whitney Biennial.\u003c/p\u003e","primary_media_id":57779,"override_media_id":58290,"sign_media_id":57779,"feature_id":59,"artwork_series_id":null,"installation_series_id":2617,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“The 81st edition of this closely watched survey of contemporary art is the best in a decade” —\u003ca href=\"https://www.washingtonpost.com/entertainment/art/2024/03/16/whitney-biennial-2024/\"\u003e\u003cem\u003eThe Washington Post\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“…timelier than ever…” \u003cem\u003e—\u003ca href=\"https://www.wsj.com/arts-culture/fine-art/whitney-biennial-2024-review-reality-check-airdigital-29c4f7db\"\u003eThe Wall Street Journal\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“It’s the most challenging Whitney Biennial in several editions, and also the best since 2017” —\u003ca href=\"https://www.artnews.com/art-news/reviews/whitney-biennial-2024-review-1234699647/\"\u003e\u003cem\u003eARTnews\u003c/em\u003e\u003c/a\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“…if art is your refuge, this biennial is for you” —\u003ca href=\"https://www.nytimes.com/2024/03/13/arts/design/whitney-biennial-review-museum-art.html\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“…it’s for the public” —\u003ca href=\"https://www.vulture.com/article/whitney-biennial-2024-review.html\"\u003e\u003cem\u003eNew York Magazine\u003c/em\u003e\u003c/a\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e“...one of the most important showcases for American contemporary art” —\u003ca href=\"https://www.npr.org/2024/03/15/1238741332/whitney-biennial-a-showcase-of-american-contemporary-arts-is-returning-to-nyc\"\u003e\u003cem\u003eNPR\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...several works shine with wit and insight about the human body” —\u003ca href=\"https://www.newyorker.com/magazine/2024/04/01/the-whitney-biennial-art-review\"\u003e\u003cem\u003eThe New Yorker\u003c/em\u003e\u003c/a\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“…there is an overarching sense of commitment to many small acts carried out with kindness and care, and those artifacts of touch build into a significant feeling of tenderness and generosity”\u0026nbsp;—\u003ca href=\"https://brooklynrail.org/2024/04/artseen/Whitney-Biennial-2024-Even-Better-Than-the-Real-Thing\"\u003e\u003cem\u003eThe Brooklyn Rail\u003c/em\u003e\u003c/a\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“This Biennial, a ‘dissonant chorus,’ sings the rallying cry of a diverse cohort of artists trying almost everything to capture a reality we can all agree on” —\u003ca href=\"https://www.bkmag.com/2024/03/18/at-the-whitney-biennial-reaching-for-utopia-without-protests/\"\u003e\u003cem\u003eBrooklyn Magazine\u003c/em\u003e\u003c/a\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“Once again, the Whitney presents a powerful and provocative exhibition across four floors” —\u003ca href=\"https://www.timeout.com/newyork/news/five-of-the-coolest-things-to-see-at-this-years-whitney-biennial-031324\"\u003e\u003cem\u003eTimeOut\u003c/em\u003e\u003c/a\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“…this year’s Whitney Biennial is a winner”\u0026nbsp;—\u003ca href=\"https://observer.com/2024/03/whitney-biennial-2024-review-controversy-protests/\"\u003e\u003cem\u003eObserver\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“…an impressive and beautiful showcase”\u0026nbsp;—\u003ca href=\"https://www.frieze.com/whitney-biennial-2024-review\"\u003e\u003cem\u003eFrieze\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...each artist tells a personal story to build a mosaic of the American reality”\u0026nbsp;—\u003ca href=\"https://elephant.art/the-whitney-biennial-roams-textures-and-stories-with-room-for-imagination-to-run-through/\"\u003e\u003cem\u003eElephant\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“This year's Whitney Biennial explores the most critical and contemporary issues facing the United States…” —\u003ca href=\"https://ocula.com/advisory/perspectives/whitney-biennial-2024-arist-highlights/\"\u003e\u003cem\u003eOcula\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...the work on view tends to evade simple summarising and reduction, instead rewarding the kind of close examination and prolonged engagement that reveals the textures and details of lived experience” —\u003ca href=\"https://www.theartnewspaper.com/2024/03/21/whitney-biennial-2024-even-better-than-the-real-thing\"\u003e\u003cem\u003eThe Art Newspaper\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Materially and thematically robust, the biennial offers insight into some of the most promising creative voices in American art, from the emerging to the established” —\u003ca href=\"https://www.artsy.net/article/artsy-editorial-8-breakout-artists-2024-whitney-biennial\"\u003e\u003cem\u003eArtsy\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"","videos_description":"","popularity":0.9019607843137255,"created_at":"2023-09-14T17:27:36.923-04:00","updated_at":"2026-07-22T16:54:53.247-04:00","block_editor":{"data":{"id":"3717","type":"block_editor","attributes":{"id":3717,"exhibition_id":1104,"page_id":null,"created_at":"2025-06-16T12:38:19.395-04:00","updated_at":"2025-06-16T12:38:19.395-04:00","regions":[]}}}}},{"id":"282","type":"exhibition","attributes":{"id":282,"title":"Martin Wattenberg: Idea Line","start_time":"2001-09-01T00:00:00.000-04:00","end_time":"2001-12-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"2001","url":"/exhibitions/idea-line","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eIDEA LINE\u003c/em\u003e displays a timeline of net artworks, arranged in a fan of luminous threads. Each thread corresponds to a particular kind of artwork or type of technology. The brightness of each thread varies with the number of artworks that it contains in each year, so you can watch the ebb and flow of different lines of thought over time. As you move your mouse over the lines, they will open up to reveal titles of artworks. Place the mouse on top of a title to learn more about the work. Click to launch the work itself. Right-click to highlight other pieces by the same artist. If you are looking for a particular title or artist, type into the text box at the upper left. You'll be able to see your search results in the context of the overall idealine.\u003c/p\u003e\u003cp class=\"large\"\u003eAccording to artist Martin Wattenberg, \"From the beginning, net art has traveled multiple paths. More than a medium, the net is an environment uniquely hospitable to many diverse media: programming and animation, video and audio, gameplay and community. Each individual artist picks up these threads and weaves them in novel combinations.\u0026nbsp;\u003cem\u003eIDEA LINE\u003c/em\u003e is designed to let you follow these threads of thought yourself, and discover how each work is part of a larger tapestry.\"\u003cbr\u003e\u003cbr\u003eTo create the list of artworks, Wattenberg sent out a public request for help to several net art forums. Almost one hundred artists responded. In addition, data was entered on many popular or influential artworks that were not covered in this response. A text-only \u003ca href=\"https://artport.whitney.org/commissions/idea-line/textonly.html\"\u003elist of the artworks\u003c/a\u003e is available.\u003c/p\u003e\u003cp\u003eThis project relies on Java applets, emulated through \u003ca href=\"https://cheerpj.com/\"\u003eCheerpJ\u003c/a\u003e to run in modern browsers.\u003c/p\u003e","primary_media_id":2573,"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":0.23202614379084968,"created_at":"2018-07-20T10:54:47.000-04:00","updated_at":"2026-07-22T09:44:33.111-04:00","block_editor":{"data":{"id":"2443","type":"block_editor","attributes":{"id":2443,"exhibition_id":282,"page_id":null,"created_at":"2025-06-16T12:34:36.886-04:00","updated_at":"2025-06-16T12:34:36.886-04:00","regions":[{"data":{"id":"22181","type":"region","attributes":{"id":22181,"position":1,"columns":12,"block_editor_id":2443,"created_at":"2025-02-19T09:52:01.691-05:00","updated_at":"2025-07-22T12:25:59.957-04:00","region_components":[{"data":{"id":"40453","type":"region_component","attributes":{"id":40453,"component_id":14720,"component_type":"TextComponent","position":1,"region_id":22181,"created_at":"2025-02-19T09:52:01.698-05:00","updated_at":"2025-07-22T12:25:59.968-04:00","component":{"data":{"id":"14720","type":"component","attributes":{"id":14720,"exhibition_id":282,"text":"\u003cp class=\"large\"\u003e\u003ca href=\"http://www.mw2mw.com/\" target=\"window\"\u003e\u003cstrong\u003eMartin Wattenberg\u003c/strong\u003e\u003c/a\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003eis a digital artist and computer scientist. His work focuses on visual investigations of data masses: communities, conversations, and other conceptual collections. His projects range from artistic explorations such as \u003cem\u003eFleshmap\u003c/em\u003e (with Fernanda Viegas, 2008) and \u003cem\u003eApartment\u003c/em\u003e (with Marek Walczak, 2001), to tools for democratizing data visualization (\u003cem\u003eMany Eyes\u003c/em\u003e, 2007, with Fernanda Viegas et al.) Wattenberg holds a Ph.D. in mathematics from the University of California, Berkeley (1996).\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"230","type":"exhibition","attributes":{"id":230,"title":"Grant Wood: American Gothic and Other Fables","start_time":"2018-03-02T00:00:00.000-05:00","end_time":"2018-06-10T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/grant-wood","primary_text":"\u003cp class=\"large\"\u003eGrant Wood's \u003cem\u003eAmerican Gothic\u003c/em\u003e—the double portrait of a pitchfork-wielding farmer and a woman commonly presumed to be his wife—is perhaps the most recognizable painting in 20th century American art, an indelible icon of Americana, and certainly Wood's most famous artwork. But Wood's career consists of far more than one single painting. \u003cem\u003eGrant Wood: American Gothic and Other Fables\u003c/em\u003e brings together the full range of his art, from his early Arts and Crafts decorative objects and Impressionist oils through his mature paintings, murals, and book illustrations. The exhibition reveals a complex, sophisticated artist whose image as a farmer-painter was as mythical as the fables he depicted in his art. Wood sought pictorially to fashion a world of harmony and prosperity that would answer America's need for reassurance at a time of economic and social upheaval occasioned by the Depression. Yet underneath its bucolic exterior, his art reflects the anxiety of being an artist and a deeply repressed homosexual in the Midwest in the 1930s. By depicting his subconscious anxieties through populist images of rural America, Wood crafted images that speak both to American identity and to the estrangement and isolation of modern life.\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition is organized by Barbara Haskell, Curator, with Sarah Humphreville, Senior Curatorial Assistant.\u003c/p\u003e\u003cp\u003e\u003cem\u003eGrant Wood: American Gothic and Other Fables\u003c/em\u003e is sponsored by Bank of America.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818175/bank_of_america.jpg\" style=\"height:35px;\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003eMajor foundation support is provided by the Henry Luce Foundation.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818155/Lucelogo_SMALL.jpg\"\u003e\u003c/p\u003e\u003cp\u003eMajor support is also provided by the Barbara Haskell American Fellows Legacy Fund.\u003c/p\u003e\u003cp\u003eSignificant support is provided by The Brown Foundation, Inc., of Houston; The Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts; and public funds from the New York City Department of Cultural Affairs in partnership with the City Council.\u003c/p\u003e\u003cp\u003eGenerous support is provided by John and Mary Pappajohn and the Robert Lehman Foundation, Inc.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/819329/dclaLogo_black_2.jpg\" style=\"height:15px;\"\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","primary_media_id":36067,"override_media_id":null,"sign_media_id":null,"feature_id":16,"artwork_series_id":null,"installation_series_id":2315,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“A new exhibit at the Whitney Museum of American Art reveals the complexities of the Iowa-born Wood.”\u003cbr\u003e—\u003ca href=\"https://www.wsj.com/articles/beyond-american-gothic-the-conflicted-world-of-grant-wood-1518707424\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe Wall Street Journal\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Feels right on time.\"\u003cbr\u003e\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.newyorker.com/magazine/2018/03/12/beyond-american-gothic\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New Yorker\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Wood was much more than American Gothic.\"\u003cbr\u003e\u003cem\u003e—\u003ca href=\"https://news.artnet.com/exhibitions/grant-wood-whitney-museum-1233068\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eartnet\u003c/em\u003e\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“As this exhibition demonstrates, he is an artist fated to be perpetually rediscovered.”\u003cbr\u003e\u003cem\u003e—\u003c/em\u003e\u003cem\u003e\u003ca href=\"https://www.washingtonpost.com/entertainment/museums/the-wonderfully-queer-world-of-american-gothics-grant-wood/2018/03/02/a65344d0-1e2f-11e8-b2d9-08e748f892c0_story.html?utm_term=.ab87a2d831ac\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eThe Washington Post\u003c/a\u003e\u003c/em\u003e\u003cbr\u003e\u003cem\u003e\u003cbr\u003e\u003c/em\u003e“Wood had altogether weirder, more singular ambitions than any of his modernist counterparts.”\u003cbr\u003e\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.artforum.com/print/201803/close-hatchet-job-74310\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eArtforum\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“A fascinating retrospective.”\u003cbr\u003e\u003cem\u003e—\u003c/em\u003e\u003cem\u003e\u003ca href=\"https://www.wnyc.org/story/review-whitney-museum-new-fun-couple/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eWNYC\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"This is no regionalist proponent of clean, country living but an artist of a much darker and more sensual vision, one for whom normalcy was delightfully perverse.\"\u003cbr\u003e—\u003ca href=\"https://www.theartnewspaper.com/blog/the-whitney-delivers-with-an-artist-double-header-zoe-leonard-and-grant-wood\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe Art Newspaper\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“It will be a surprise for people who think they know Grant Wood.”\u003cbr\u003e—\u003ca href=\"https://www.nytimes.com/2018/03/07/arts/whitney-barbara-haskell-curator.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"The most extensive Grant Wood exhibition that's ever been mounted.\"\u003cbr\u003e—\u003ca href=\"https://www.cbsnews.com/news/grant-wood-an-american-artist-whitney-museum-of-art/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eCBS News\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":null,"videos_description":null,"popularity":0.8986928104575164,"created_at":"2017-06-26T17:35:04.000-04:00","updated_at":"2026-07-17T13:27:23.807-04:00","block_editor":{"data":{"id":"2367","type":"block_editor","attributes":{"id":2367,"exhibition_id":230,"page_id":null,"created_at":"2025-06-16T12:34:34.975-04:00","updated_at":"2025-06-16T12:34:34.975-04:00","regions":[{"data":{"id":"22155","type":"region","attributes":{"id":22155,"position":1,"columns":6,"block_editor_id":2367,"created_at":"2025-02-19T09:52:00.940-05:00","updated_at":"2025-02-19T09:52:00.940-05:00","region_components":[{"data":{"id":"40426","type":"region_component","attributes":{"id":40426,"component_id":14697,"component_type":"TextComponent","position":1,"region_id":22155,"created_at":"2025-02-19T09:52:00.947-05:00","updated_at":"2025-02-19T09:52:00.958-05:00","component":{"data":{"id":"14697","type":"component","attributes":{"id":14697,"exhibition_id":230,"text":"\u003ch2\u003e\u003ca href=\"https://shop.whitney.org/exhibitions/grant-wood/grant-wood-american-gothic-and-other-fables.html\"\u003eExhibition Catalogue\u003c/a\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003eThis comprehensive study of Grant Wood provides new insight into the career of one of the key figures of twentieth-century American art. Exploring Wood’s oeuvre from a variety of perspectives, the catalogue presents the artist’s work in all of its subtle complexity and eschews the idea that Wood can be categorized simply as a Regionalist painter.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eThe excerpt featured here includes a selection from Barbara Haskell’s overview essay as well as a preview of the plate section and illustrated chronology.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://shop.whitney.org/grant-wood-american-gothic-and-other-fables.html\"\u003eBuy Now\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"22156","type":"region","attributes":{"id":22156,"position":2,"columns":6,"block_editor_id":2367,"created_at":"2025-02-19T09:52:00.968-05:00","updated_at":"2025-02-19T09:52:00.968-05:00","region_components":[{"data":{"id":"40427","type":"region_component","attributes":{"id":40427,"component_id":13950,"component_type":"MediaComponent","position":1,"region_id":22156,"created_at":"2025-02-19T09:52:00.976-05:00","updated_at":"2025-02-19T09:52:00.983-05:00","component":{"data":{"id":"13950","type":"component","attributes":{"id":13950,"exhibition_id":230,"media_id":41307,"url":null}}}}}}]}}}]}}}}},{"id":"140","type":"exhibition","attributes":{"id":140,"title":"America Is Hard to See","start_time":"2015-05-01T00:00:00.000-04:00","end_time":"2015-09-27T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/america-is-hard-to-see","primary_text":"\u003cp class=\"large\"\u003eDrawn entirely from the Whitney Museum of American Art’s collection, \u003cem\u003eAmerica Is Hard to See\u0026nbsp;\u003c/em\u003etakes the inauguration of the Museum’s new building as an opportunity to reexamine the history of art in the United States from the beginning of the twentieth century to the present. Comprising more than six hundred works, the exhibition elaborates the themes, ideas, beliefs, and passions that have galvanized American artists in their struggle to work within and against established conventions, often directly engaging their political and social contexts. Numerous pieces that have rarely, if ever, been shown appear alongside beloved icons in a conscious effort to unsettle assumptions about the American art canon.\u003c/p\u003e\u003cp class=\"large\"\u003eThe title, \u003cem\u003eAmerica Is Hard to See\u003c/em\u003e, comes from a poem by Robert Frost and a political documentary by Emile de Antonio. Metaphorically, the title seeks to celebrate the ever-changing perspectives of artists and their capacity to develop visual forms that respond to the culture of the United States. It also underscores the difficulty of neatly defining the country’s ethos and inhabitants, a challenge that lies at the heart of the Museum’s commitment to and continually evolving understanding of American art.\u003c/p\u003e\u003cp class=\"large\"\u003eOrganized chronologically, the exhibition’s narrative is divided into twenty- three thematic “chapters” installed throughout the building. These sections revisit and revise established tropes while forging new categories and even expanding the definition of who counts as an American artist. Indeed, each chapter takes its name not from a movement or style but from the title of a work that evokes the section’s animating impulse. Works of art across all mediums are displayed together, acknowledging the ways in which artists have engaged various modes of production and broken the boundaries between them.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eAmerica Is Hard to See\u0026nbsp;\u003c/em\u003ereflects the Whitney’s distinct record of acquisitions and exhibitions, which constitutes a kind of collective memory—one that represents a range of individual, sometimes conflicting, attitudes toward what American art might be or mean or do at any given moment. By simultaneously mining and questioning our past, we do not arrive at a comprehensive survey or tidy summation, but rather at a critical new beginning: the first of many stories still to tell.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eAmerica Is Hard to See\u0026nbsp;\u003c/em\u003eis organized by a team of Whitney curators, led by Donna De Salvo, Chief Curator and Deputy Director for Programs, including Carter E. Foster, Steven and Ann Ames Curator of Drawing; Dana Miller, Curator of the Permanent Collection; and Scott Rothkopf, Nancy and Steve Crown Family Curator and Associate Director of Programs; with Jane Panetta, Assistant Curator; Catherine Taft, Assistant Curator; and Mia Curran, Curatorial Assistant.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://whitneymedia.org/assets/generic_file/92/america_is_hard_to_see_checklist.pdf\"\u003eDownload checklist\u003c/a\u003e\u003c/p\u003e\u003cp\u003eSponsored by\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://www.bankofamerica.com/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818175/bank_of_america.jpg\" width=\"200\"\u003e\u003c/a\u003e \u0026nbsp; \u003ca href=\"http://www.hluce.org/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818155/Lucelogo_SMALL.jpg\" width=\"54\"\u003e\u003c/a\u003e\u003c/p\u003e","primary_media_id":2603,"override_media_id":null,"sign_media_id":null,"feature_id":5,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“2015 was the Year of the Whitney…the cross-disciplinary approach taken by \u003cem\u003eAmerica Is Hard to See\u003c/em\u003e and\u0026nbsp;\u003cem\u003eCollected by Thea Westreich Wagner and Ethan Wagner\u003c/em\u003e, is becoming the model for a new generation of curators.”\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://hyperallergic.com/263539/the-pursuit-of-art-2015/\"\u003eHyperallergic\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“2015 belonged to the Whitney…both my museum—and my show—of the year.”\u003cbr\u003e—Adrian Searle in \u003cem\u003e\u003ca href=\"http://www.theguardian.com/artanddesign/2015/dec/15/adrian-searle-10-best-art-shows-of-2015?CMP=twt_gu\"\u003eThe Guardian\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Best of 2015: Our Top 20 NYC Art Shows\"\u003cbr\u003e\u003cem\u003e—\u003ca href=\"http://hyperallergic.com/261627/best-of-2015-our-top-20-nyc-art-shows/\"\u003eHyperallergic\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"The museum’s inaugural show in its new building,\u0026nbsp;\u003cem\u003eAmerica Is Hard to See\u003c/em\u003e, tells a different story of modern and contemporary American art than the lily-white version we’re used to\"\u003cbr\u003e\u003cem\u003e—\u003ca href=\"http://www.newyorker.com/culture/culture-desk/finding-refuge-at-the-whitney\"\u003eThe New Yorker\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003eInterview: Curator Scott Rothkopf speaks about \u003cem\u003eAmerica Is Hard to See\u003c/em\u003e\u0026nbsp;on Slate's Culture Gabfest\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.slate.com/articles/audio/podcastss/culturegabfest/2015/06/slate_s_culture_gabfest_on_inside_out_the_new_10_bill_and_the_new_whitney.html\"\u003eSlate\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"New Whitney Museum Signifies a Changing New York Art Scene\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nytimes.com/2015/05/02/arts/design/new-whitney-museum-signifies-a-changing-new-york-art-scene.html?_r=0\u0026referrer\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"With its abundantly sumptuous holdings, the museum tells us how we got where we are, offering a teeming lineage of the art of this country\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"https://hyperallergic.com/203361/the-triumph-of-revisionism-the-whitneys-american-century/\"\u003eHyperallergic\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"The Whitney Opens With a Winner\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.artnews.com/2015/04/23/the-new-whitney-museum-is-glorious-a-review-look-inside/\"\u003eArtnews\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Review: New Whitney Museum’s First Show,\u0026nbsp;\u003cem\u003eAmerica Is Hard to See\u003c/em\u003e\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nytimes.com/2015/04/24/arts/design/review-new-whitney-museums-first-show-america-is-hard-to-see.html\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Curators at the Whitney Museum of American Art discuss their largest exhibition to date at their new downtown location, designed by architect Renzo Piano\"\u003cbr\u003e—\u003ca href=\"http://www.wsj.com/articles/the-whitney-museums-new-home-1427551059\"\u003e\u003cem\u003eThe Wall Street Journal\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"The exhibition will include plenty of crowd-pleasers—Hopper, O’Keeffe, Calder’s “Circus”—but, with the Whitney’s brilliant chief curator, Donna De Salvo, at the helm, expect major twists in the conventional art-historical plot.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.newyorker.com/magazine/2015/03/09/spring-preview-art-whitney\"\u003eThe New Yorker\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"The Whitney Museum, Soon to Open Its New Home, Searches for American Identity\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nytimes.com/2015/03/29/arts/design/the-whitney-museum-soon-to-open-its-new-home-searches-for-american-identity.html?_r=0\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"One of this year's most anticipated art world events\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.huffingtonpost.com/artphaire/top-5-most-anticipated-exhibitions-this-season_b_6509428.html\"\u003eHuffington Post\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e","audio_description":"","videos_description":"","popularity":0.9084967320261438,"created_at":"2017-04-03T12:47:24.000-04:00","updated_at":"2026-07-17T13:27:06.931-04:00","block_editor":{"data":{"id":"2261","type":"block_editor","attributes":{"id":2261,"exhibition_id":140,"page_id":null,"created_at":"2025-06-16T12:34:20.021-04:00","updated_at":"2025-06-16T12:34:20.021-04:00","regions":[]}}}}}],"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"}}