{"data":[{"id":"2451","type":"exhibition","attributes":{"id":2451,"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":"","url":"/exhibitions/lichtenstein","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/779\"\u003eRoy Lichtenstein\u003c/a\u003e’s breakthrough Pop work stunned both the art world and the country when it was first shown in the early 1960s. An appropriation artist long before the term was used by art historians, Lichtenstein took his imagery from comic books and newspapers, reconfiguring and refining his compositions before enlarging and transferring them to canvas. Cool, crisp, and mechanical-looking yet decidedly handmade, his work—executed to mimic the bold black outlines, flat bright colors, and fields of dots associated with commercial printing—upended conventional notions of what an artwork could be. Lichtenstein’s legacy extends far beyond Pop, however. His career-long investigation into image culture has shaped successive generations of artists and changed the way we see and understand images.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eBorn in 1923, Lichtenstein spent most of his life in New York and Southampton, where he sustained a continually evolving practice until his death in 1997 at the age of seventy-three. Titled after a 1962 work, \u003cem\u003eRoy Lichtenstein: Like New\u0026nbsp;\u003c/em\u003efeatures many of the artist’s most iconic paintings alongside lesser-known works and four re-created murals. The first New York retrospective of his work since 1993, it traces Lichtenstein’s fascination with perception across six decades of painting, drawing, sculpture, film, and prints.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eIn an era when pictures are endlessly generated, copied, altered, filtered, and reposted across screens, Lichtenstein’s art is strikingly prescient and remarkably relevant. He understood long before the digital age that images are never stable: they move through the world and return transformed. With each iteration, they are made \u003cem\u003elike new\u003c/em\u003e.\u003c/p\u003e\u003cp\u003e\u003cem\u003eRoy Lichtenstein: Like New\u003c/em\u003e is organized by Meg Onli, Nancy and Fred Poses Curator, and Alex Da Corte, Guest Curator, with Nakai Falcón, Curatorial Assistant, and David Crane, Curatorial Research Associate.\u003c/p\u003e\u003cp\u003eLeadership support for \u003cem\u003eRoy Lichtenstein: Like New\u0026nbsp;\u003c/em\u003eis provided by the Jerome L. Greene Foundation, Kenneth C. Griffin and Griffin Catalyst, and Susan and John Hess.\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/829205/gf02_H_logotype_purple_final.jpg\" style=\" height: 26px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u003c/em\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/833808/GriffinCatalyst_Logo_FullColor.jpg\" style=\" height: 40px;\"\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSusan and John Hess\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eMajor corporate support is provided by\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824394/Pamella_Roland_Logo__NEW__0.jpg\" style=\" height: 35px;\"\u003e\u003c/em\u003e\u003c/p\u003e\u003cp data-pm-slice=\"1 1 []\"\u003ePrincipal support is provided by Stephanie March and Dan Benton; Pete and Michelle Scantland; and Caroline and Robert Taubman, on behalf of the A. Alfred Taubman Foundation. \u0026nbsp;\u003c/p\u003e\u003cp\u003eAdditional corporate support is provided by\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/833809/DY_LOGO_TRACKING_EXPLORE_FINAL_3_15__PNG.png\" style=\" height: 18px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u003c/em\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824938/Delta_c_r__2_.jpg\" style=\" height: 20px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u003c/em\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/833811/_NEW_Gap_Logo_2026.jpg\" style=\" height: 26px;\"\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/833810/GAGOSIAN_logotype_black_web.jpg\" style=\" height: 33px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003eMajor support is provided by Judy Hart Angelo; Barbara Haskell American Fellows Legacy Fund; Jill and Darius Bikoff; Neil G. Bluhm and Kimberly Paige Bluhm; Jenny Brorsen and Rich DeMartini; Nancy Carrington Crown \u0026amp; A. Steven Crown; Lise and Michael Evans; Meg and Bennett Goodman; CJ Jones \u0026amp; Philip Rebeiz, Colour Themes; The KHR McNeely Family Foundation | Kevin, Rosemary, and Hannah Rose McNeely; Sara and Kip Kirkpatrick; Michael A. Klump; Northern Trust; Nancy and Fred Poses; Anne-Cecilie Engell Speyer and Rob Speyer; and the Whitney’s National Committee.\u003c/p\u003e\u003cp\u003eSignificant support is provided by The Fuhrman Family Foundation, Jackson Tang, and an anonymous donor. \u0026nbsp;\u003c/p\u003e\u003cp\u003eGenerous support is provided by the AG Foundation, Salvador Espinoza and Jonathan Rozoff, the Keith Haring Exhibition Fund, Thomas \u0026amp; Linda Koehn Foundation, Susan and Larry Marx, Robert E. Meyerhoff and Rheda Becker, Susanne and William E. Pritchard III, Katherine Sachs, and an anonymous donor.\u003c/p\u003e\u003cp\u003eAdditional support is provided by Dawn and David Lenhardt.\u003c/p\u003e\u003cp\u003eThis exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.\u003c/p\u003e\u003cp\u003eLeadership support for the catalogue and education and public programs is provided by the Roy Lichtenstein Foundation.\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/833857/RLF_REFERENCE-crop.jpg\" style=\"width:574px; max-width: 100%;\"\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eBBDO is the official marketing agency partner for \u003cem\u003eRoy Lichtenstein: Like New.\u003c/em\u003e\u003c/em\u003e\u003c/p\u003e","primary_media_id":66167,"override_media_id":null,"sign_media_id":65075,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":1.0,"created_at":"2026-10-02T10:59:44.507-04:00","updated_at":"2026-10-11T09:11:13.251-04:00","block_editor":{"data":{"id":"6142","type":"block_editor","attributes":{"id":6142,"exhibition_id":2451,"page_id":null,"created_at":"2026-10-02T10:59:44.653-04:00","updated_at":"2026-10-02T10:59:44.653-04:00","regions":[{"data":{"id":"24761","type":"region","attributes":{"id":24761,"position":1,"columns":4,"block_editor_id":6142,"created_at":"2026-10-02T10:59:44.655-04:00","updated_at":"2026-10-02T11:01:24.116-04:00","region_components":[{"data":{"id":"45585","type":"region_component","attributes":{"id":45585,"component_id":16264,"component_type":"MediaComponent","position":1,"region_id":24761,"created_at":"2026-10-02T10:59:44.681-04:00","updated_at":"2026-10-02T10:59:44.681-04:00","component":{"data":{"id":"16264","type":"component","attributes":{"id":16264,"exhibition_id":2451,"media_id":65940,"url":""}}}}}}]}}},{"data":{"id":"24763","type":"region","attributes":{"id":24763,"position":2,"columns":8,"block_editor_id":6142,"created_at":"2026-10-02T11:01:12.559-04:00","updated_at":"2026-10-02T11:01:24.119-04:00","region_components":[{"data":{"id":"45584","type":"region_component","attributes":{"id":45584,"component_id":16349,"component_type":"TextComponent","position":1,"region_id":24763,"created_at":"2026-10-02T11:01:12.579-04:00","updated_at":"2026-10-02T11:01:12.579-04:00","component":{"data":{"id":"16349","type":"component","attributes":{"id":16349,"exhibition_id":2451,"text":"\u003ch2\u003e\u003cspan data-olk-copy-source=\"MessageBody\"\u003eGap–Lichtenstein–Whitney\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003cspan data-olk-copy-source=\"MessageBody\"\u003eOur collaboration with Gap and the Estate of Roy Lichtenstein brings the artist’s bold visual language to an 18-piece collection of clothing and accessories. Bold patterns on sherpa. Graphic prints on tees. This is art—worn by you.\u003c/span\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"https://shop.whitney.org/collections/gap-lichtenstein-whitney\" class=\"btn\"\u003eShop the collaboration\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"231","type":"exhibition","attributes":{"id":231,"title":"Addie Wagenknecht: Believe me","start_time":"2017-07-10T00:00:00.000-04:00","end_time":"2018-04-04T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"2017","url":"/exhibitions/addie-wagenknecht-believe-me","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/18199\"\u003eAddie Wagenknecht\u003c/a\u003e's \u003cem\u003eBelieve me\u003c/em\u003e references the familiar sight of a device's broken screen. It overlays the visual effect of cracks on a series of images that can be manipulated and loaded successively by refreshing the browser. Using the seemingly damaged screen as a central metaphor, \u003cem\u003eBelieve me\u003c/em\u003e evokes the distortions that digital technologies impose on our experience of the world, and each other. The failed or failing pixels change the colors, spaces, and meanings of the project's imagery, which ranges from politically charged scenes to the vernacular of the online environment, familiar interface elements and Internet folklore. The \u0026nbsp;slightly glitched, broken, readable yet abstracted imagery of \u003cem\u003eBelieve me\u003c/em\u003e—the two most often used words by Donald Trump according to sociolinguist Jennifer Sclafani's \u003ca href=\"http://www.cnn.com/2017/04/21/politics/donald-trump-president-speeches-favorite-phrases-trnd/index.html\"\u003eanalysis for CNN\u003c/a\u003e—questions the status of reality as it is mediated through our screens in a fake news and post-truth environment.\u003c/p\u003e\u003cp class=\"large\"\u003eViewers can manipulate \u003cem\u003eBelieve me\u003c/em\u003e by clicking and refreshing the page.\u003c/p\u003e","primary_media_id":2915,"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":0.41776315789473684,"created_at":"2017-07-10T15:24:19.000-04:00","updated_at":"2026-10-08T17:53:31.952-04:00","block_editor":{"data":{"id":"2369","type":"block_editor","attributes":{"id":2369,"exhibition_id":231,"page_id":null,"created_at":"2025-06-16T12:34:35.008-04:00","updated_at":"2025-06-16T12:34:35.008-04:00","regions":[{"data":{"id":"22157","type":"region","attributes":{"id":22157,"position":1,"columns":12,"block_editor_id":2369,"created_at":"2025-02-19T09:52:00.992-05:00","updated_at":"2025-02-19T09:52:00.992-05:00","region_components":[{"data":{"id":"40428","type":"region_component","attributes":{"id":40428,"component_id":14698,"component_type":"TextComponent","position":1,"region_id":22157,"created_at":"2025-02-19T09:52:00.998-05:00","updated_at":"2025-02-19T09:52:01.007-05:00","component":{"data":{"id":"14698","type":"component","attributes":{"id":14698,"exhibition_id":231,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAddie Wagenknecht\u003c/strong\u003e's work blends conceptual approaches with forms of sculpture and hacking. She founded \u003ca href=\"http://www.deeplab.net/\"\u003eDeep Lab\u003c/a\u003e in 2014 and was a member of \u003ca href=\"http://fffff.at/\"\u003eFree Art \u0026amp; Technology (F.A.T.) Lab\u003c/a\u003e. Her projects have been shown at venues including MuseumsQuartier, Vienna, Austria; La Gaîté Lyrique, Paris, France; The Istanbul Modern; Whitechapel Gallery, London; and MU, Eindhoven, Netherlands. Wagenknecht's work has been featured in numerous academic papers, books, newspapers and magazines, among them \u003cem\u003eTIME\u003c/em\u003e, \u003cem\u003eThe Wall Street Journal\u003c/em\u003e, \u003cem\u003eVanity Fair\u003c/em\u003e, \u003cem\u003eThe Economist\u003c/em\u003e, and \u003cem\u003eThe New York Times\u003c/em\u003e. She holds a Masters degree from the Interactive Telecommunications Program at New York University, and has held fellowships at Eyebeam Art + Technology Center in New York City; Culture Lab UK; Institute HyperWerk for Postindustrial Design Basel (CH); and The Frank-Ratchye STUDIO for Creative Inquiry at Carnegie Mellon University.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"233","type":"exhibition","attributes":{"id":233,"title":"eteam: The Line","start_time":"2017-09-06T00:00:00.000-04:00","end_time":"2018-09-06T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"2017","url":"/exhibitions/the-line","primary_text":"\u003cp class=\"large\"\u003eIn \u003cem\u003eThe Line\u003c/em\u003e by artist duo \u003ca href=\"/artists/18217\"\u003eeteam\u003c/a\u003e (Hajoe Moderegger and Franziska Lamprecht), viewers become spectators who move along a line of computer-generated figures, standing one after the other. eteam explores the notion of the line as a formal construct that moves through both physical and social space. Each figure stands or sits alone in this randomly generated sequence of characters—stretching, typing into imaginary phones, and taking invisible objects out of pockets. The title of \u003cem\u003eThe Line\u0026nbsp;\u003c/em\u003ereferences the artist's traditional drawing method, yet the project is a simulation that unfolds in real time. \u003cem\u003eThe Line\u003c/em\u003e shifts traditional questions about the limitations of rendering human likeness into the digital realm—with faces, figures, and clothing reflecting the software's inherent bias. eteam explores the idea of the line as a promise of a passage, an exit or entrance, a permission, right, or reward. Refugees, consumers, commuters, visa-seekers, the hungry and the privileged all line up with their own specific motivations. \u003cem\u003eThe Line\u0026nbsp;\u003c/em\u003einvites us to ask, and imagine, what we ourselves are waiting for through this simulated experience.\u003c/p\u003e","primary_media_id":12860,"override_media_id":34887,"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":0.6907894736842105,"created_at":"2017-08-29T14:18:42.000-04:00","updated_at":"2026-10-08T17:52:53.847-04:00","block_editor":{"data":{"id":"2373","type":"block_editor","attributes":{"id":2373,"exhibition_id":233,"page_id":null,"created_at":"2025-06-16T12:34:35.063-04:00","updated_at":"2025-06-16T12:34:35.063-04:00","regions":[{"data":{"id":"22158","type":"region","attributes":{"id":22158,"position":1,"columns":12,"block_editor_id":2373,"created_at":"2025-02-19T09:52:01.018-05:00","updated_at":"2025-02-19T09:52:01.018-05:00","region_components":[{"data":{"id":"40429","type":"region_component","attributes":{"id":40429,"component_id":14699,"component_type":"TextComponent","position":1,"region_id":22158,"created_at":"2025-02-19T09:52:01.026-05:00","updated_at":"2025-02-19T09:52:01.034-05:00","component":{"data":{"id":"14699","type":"component","attributes":{"id":14699,"exhibition_id":233,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eeteam\u0026nbsp;\u003c/strong\u003e(Franziska Lamprecht and Hajoe Moderegger) coordinate collective happenings and conceptual transactions on the earth and the Internet. Their work takes the form of video, radio plays, Web-based projects, or novellas. Their projects have been featured at MoMA PS1, New York; MUMOK, Vienna; Centre Pompidou, Paris; Transmediale, Berlin; the Taiwan International Documentary Festival; New York Video Festival; International Film Festival Rotterdam; the 11th Biennale of Moving Images in Geneva; and the International Film Festival Rotterdam, among others. eteam has received grants from Art in General, NYSCA, Rhizome, Creative Capital and the John Simon Guggenheim Memorial Foundation.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"2435","type":"exhibition","attributes":{"id":2435,"title":"artport: A History of Internet Art","start_time":"2026-11-21T00:00:00.000-05:00","end_time":"2027-03-28T00:00:00.000-04:00","member_start_time":"2026-11-19T00:00:00.000-05:00","member_end_time":"2026-11-20T00:00:00.000-05:00","date_override":"Opens Nov 21","url":"/exhibitions/artport-25","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eartport: A History of Internet Art\u003c/em\u003e marks the 25th anniversary of \u003ca href=\"/artport\"\u003eartport\u003c/a\u003e, the Whitney’s online gallery space for commissions of net art, which launched in 2001. Since its inception, artport has presented a snapshot of the varied practices artists use to engage with an ever-evolving online environment. Taking place online and in the gallery, the exhibition tells a history of the evolution of net art over a quarter century and features more than 100 works commissioned specifically for artport.\u003c/p\u003e\u003cp class=\"large\"\u003eThe exhibition presented on the Museum’s 6th Floor is structured around the three main commissioning categories of the artport website: the \u003ca href=\"/artport/gate-pages\"\u003eGate Pages\u003c/a\u003e, created from 2001 to 2006 as portals to artists’ websites; the main \u003ca href=\"/artport/commissions\"\u003eCommissions\u003c/a\u003e, which have been ongoing since 2001; and the \u003ca href=\"/artport/sunrise-sunset\"\u003eSunrise/Sunset\u003c/a\u003e series, which ran from 2009 to 2024, along with its successor, \u003ca href=\"/artport/on-the-hour\"\u003eOn the Hour\u003c/a\u003e. In the galleries, the open floor plan creates the impression of floating browser windows, bringing the history of online art into physical space.\u003c/p\u003e\u003cp class=\"large\"\u003eWorking across code, data visualization, nonlinear narrative, worldbuilding, gaming environments, and AI-driven net art, the artists in the exhibition explore how the internet has reshaped privacy, identity, self-perception, surveillance, and the boundaries between online and offline life. Together, the works offer a wide-ranging look at how artists have used the internet as both a site and a medium for artistic production.\u003c/p\u003e\u003cp class=\"large\"\u003eThe artport anniversary exhibition will include the world premiere of \u003cem\u003eHuman Unreadable Act III\u003c/em\u003e, by the artist duo Operator. This live performance is the culmination of \u003cem\u003eHuman Unreadable\u003c/em\u003e, Operator's seminal generative choreography work unfolding in three acts since 2023. \u003cem\u003eAct III\u003c/em\u003e is a multimedia performance and examination of the artists' negotiations between the body, ambition, and technology. The performances will take place in the Whitney's Susan and John Hess Family Theater on November 19, 21, and 22.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eartport: A History of Internet Art\u0026nbsp;\u003c/em\u003eis organized by Christiane Paul, Curator of Digital Art, with David Lisbon, Curatorial Assistant, and Colin Brooks, Head of Digital Development.\u003c/p\u003e\u003cp\u003e\u003cem\u003eartport: A History of Internet Art\u0026nbsp;\u003c/em\u003eis sponsored by\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/833922/Samsung_Orig_Wordmark_BLACK_RGB.jpg\" style=\" height: 40px;\"\u003e\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 data-pm-slice=\"1 1 []\"\u003eAdditional support is provided by The David Bermant Foundation and the Judelson Family 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.\u003cbr\u003e\u003cbr\u003eExhibition Media Sponsor: The Guardian\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":0.9671052631578947,"created_at":"2026-06-23T12:33:12.949-04:00","updated_at":"2026-10-08T13:37:32.025-04:00","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":"120","type":"exhibition","attributes":{"id":120,"title":"I, YOU, WE","start_time":"2013-04-25T00:00:00.000-04:00","end_time":"2013-09-01T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/i-you-we","primary_text":"\u003cp class=\"large\"\u003eI, you, we: three very commonplace words. These pronouns—with all their implied complexities of meaning—provide an unexpected guide for assessing the works of art from the 1980s and early 1990s in the Museum’s collection. What becomes apparent in this survey of paintings, sculpture, drawings, prints, and photographs is how the personal, social, and collective issues and concerns of the artists of this time are still relevant several decades later.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eI, YOU, WE\u003c/em\u003e is organized by David Kiehl, Nancy and Fred Poses Curator.\u003c/p\u003e\u003cp\u003eOngoing support for the permanent collection and major support for\u0026nbsp;\u003cem\u003eI, YOU, WE\u0026nbsp;\u003c/em\u003eis provided by Bank of America.\u003c/p\u003e\u003cp\u003e\u003cspan\u003e\u003ca href=\"http://www.bankofamerica.com/\"\u003e\u003cimg alt=\"Bank of America\" src=\"https://whitneymedia.org/assets/image/818175/bank_of_america.jpg\"\u003e\u003c/a\u003e\u003c/span\u003e\u003c/p\u003e","primary_media_id":6410,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":262,"installation_series_id":263,"perspective_series_id":null,"press_highlights":"\u003cp\u003e\"This is an exhibition that faces AIDS head-on, as it does identity.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nytimes.com/2013/06/21/arts/design/identity-politics-in-i-you-we-at-the-whitney.html?_r=0\" target=\"_blank\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"The Whitney Finds the Good Thing About the '80s\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.villagevoice.com/2013-08-14/art/i-you-we/\" target=\"_blank\"\u003eThe Village Voice\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003eVideo: Curator David Kiehl leads a walk-through of the exhibition.\u003cbr\u003e—\u003ca href=\"http://link.brightcove.com/services/player/bcpid1990588125001?bckey=AQ~~,AAABzzHy4Tk~,AO6g3btR4qOTYORteGjbOgPmtoEnn5K2\u0026bclid=2191004963001\u0026bctid=2662711677001\" target=\"_blank\"\u003eHere TV\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"An intense and poignant selection of works from the Whitney’s permanent collection that is worth catching\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.artnews.com/2013/08/22/identity-remix-in-must-see-museum-shows/\" target=\"_blank\"\u003eARTnews\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"A stunning, stirring exhibit\"\u003cbr\u003e—\u003cem\u003eA\u0026amp;U Magazine\u003c/em\u003e\u003c/p\u003e","audio_description":"","videos_description":"","popularity":0.5460526315789473,"created_at":"2017-04-03T12:47:12.000-04:00","updated_at":"2026-10-07T10:58:43.146-04:00","block_editor":{"data":{"id":"2225","type":"block_editor","attributes":{"id":2225,"exhibition_id":120,"page_id":null,"created_at":"2025-06-16T12:34:16.203-04:00","updated_at":"2025-06-16T12:34:16.203-04:00","regions":[{"data":{"id":"22120","type":"region","attributes":{"id":22120,"position":1,"columns":12,"block_editor_id":2225,"created_at":"2025-02-19T09:51:59.546-05:00","updated_at":"2025-02-19T09:51:59.546-05:00","region_components":[{"data":{"id":"40388","type":"region_component","attributes":{"id":40388,"component_id":14671,"component_type":"TextComponent","position":1,"region_id":22120,"created_at":"2025-02-19T09:51:59.555-05:00","updated_at":"2025-02-19T09:51:59.566-05:00","component":{"data":{"id":"14671","type":"component","attributes":{"id":14671,"exhibition_id":120,"text":"\u003cp class=\"large\"\u003e\u003cem\u003eI, YOU, WE\u003c/em\u003e is the fifth in a two-year series of exhibitions which reassess the Whitney’s collection in anticipation of the Museum’s move downtown. Unfolding chronologically, these exhibitions explore overlooked developments in American art and reconsider iconic figures and works within new contexts.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"2436","type":"exhibition","attributes":{"id":2436,"title":"Coumba Samba: Stars and Stripes","start_time":"2026-09-19T00:00:00.000-04:00","end_time":"2027-01-18T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/coumba-samba","primary_text":"\u003cp class=\"large\"\u003eCoumba Samba’s installations draw on forms from the global built environment to expose the social, political, and economic structures they represent. In \u003cem\u003eStars and Stripes\u003c/em\u003e, Samba (b. 2000) uses the geometric shapes and bold colors of modernist abstraction to explore the entanglement of resource extraction with systems of power. Here, sculptures modeled after depleted uranium shells are painted in the colors of the flags of the Democratic Republic of the Congo, Gabon, Namibia, Niger, and the United States. By using elements of national identity—stripes, colors, and graphics—Samba exposes the violent histories they conceal, deconstructing the symbols and forms that uphold the global military-industrial complex and its development of nuclear weapons.\u003c/p\u003e\u003cp class=\"large\"\u003eThe African nations Samba references were among the world’s principal sources of uranium ore during the Cold War, when many of their mines were operated by foreign companies. Reverberations of past wars also run through this installation. For example, the Shinkolobwe mine in the Democratic Republic of the Congo supplied most of the uranium ore for the bomb dropped on Hiroshima in 1945. In 2003, allegations that Iraq had sought five hundred tons of uranium ore from Niger were used to justify the US invasion of Iraq. Samba views the global nuclear order as dependent on the geography of extraction that was set up by colonial powers. In addition to not reaping the full economic benefits of their natural resources, these African nations bear the brunt of the related environmental degradation. By taking aim at the racist global hierarchies of the colonial period, Samba exposes the ongoing impact on African people, places, and sovereignty today.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ci data-olk-copy-source=\"MessageBody\"\u003eCoumba Samba: Stars and Stripes\u003c/i\u003e is organized by Rujeko Hockley, Guest Curator, with Antonia Pocock, Curatorial Assistant.\u003c/p\u003e\u003cp\u003eMajor support for \u003cem\u003eCoumba Samba: Stars and Stripes\u003c/em\u003e is provided by the John R. Eckel, Jr. Foundation.\u0026nbsp;\u003c/p\u003e","primary_media_id":65924,"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":0.9769736842105263,"created_at":"2026-06-23T12:35:48.519-04:00","updated_at":"2026-10-05T14:23:12.980-04:00","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":"1076","type":"exhibition","attributes":{"id":1076,"title":"Cary Peppermint: CN_ZERO","start_time":"2001-08-01T00:00:00.000-04:00","end_time":"2001-08-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"August 2001","url":"/exhibitions/cary-peppermint","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eCN_ZERO\u003c/em\u003e by Cary Peppermint is an entry portal to \u003cem\u003eCONDUCTOR NUMBER ZERO\u003c/em\u003e, a series of interactive, real-time performance installations and techno-music lectures initiated in 1997 and concluded in 2004. Each performance incorporated surveillance technology, enabling the audience to simultaneously experience the actual event and its live video approximation. Described by the artist as a “simulation of sincerity,” \u003cem\u003eCN_ZERO\u003c/em\u003e functioned as a platform that questioned artistic authenticity and identity in the digital age. The Gate Page allows users to listen to or download three MP3 “techno-lectures” that combine electronic music with spoken word. Peppermint disseminated his work through his website \u003ca href=\"https://web.archive.org/web/20050204014730/http://restlessculture.net/stlessculture.net/\"\u003erestlessculture.net\u003c/a\u003e, which used materials from commercial sites and publications, such as \u003ca href=\"https://web.archive.org/web/20010901180809/http://www.ebay.com/\"\u003eebay.com\u003c/a\u003e, \u003cem\u003eArtforum\u003c/em\u003e, and \u003ca href=\"https://web.archive.org/web/20010901022644/http://www.mp3.com/\"\u003eMP3.com\u003c/a\u003e, and recombined them to function as carriers of his interactive compositions of chance or \"restless culture.\"\u003c/p\u003e","primary_media_id":56164,"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":0.12828947368421054,"created_at":"2023-08-21T17:49:49.548-04:00","updated_at":"2026-10-05T10:37:06.971-04:00","block_editor":{"data":{"id":"3663","type":"block_editor","attributes":{"id":3663,"exhibition_id":1076,"page_id":null,"created_at":"2025-06-16T12:38:18.516-04:00","updated_at":"2025-06-16T12:38:18.516-04:00","regions":[{"data":{"id":"23820","type":"region","attributes":{"id":23820,"position":1,"columns":12,"block_editor_id":3663,"created_at":"2026-02-26T17:49:56.093-05:00","updated_at":"2026-02-26T17:49:56.123-05:00","region_components":[{"data":{"id":"43818","type":"region_component","attributes":{"id":43818,"component_id":15738,"component_type":"TextComponent","position":1,"region_id":23820,"created_at":"2026-02-26T17:49:56.114-05:00","updated_at":"2026-02-26T17:49:56.114-05:00","component":{"data":{"id":"15738","type":"component","attributes":{"id":15738,"exhibition_id":1076,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eCary Peppermint\u003c/strong\u003e [also known as Cary Adams] (b. 1970; Rome, Georgia) created some of the first real-time performances realized via the internet. He has earned support for his work from the National Endowment for the Arts, the New York State Council on the Arts, and the Andrew W. Mellon Foundation, among others. His performances, exhibitions, and lectures have taken place at venues such as Postmasters Gallery (1984–2025), New York; New York University; 319 Scholes, New York; Smack Mellon Gallery, Brooklyn; Exit Art, New York (1982–2012); University of California, Los Angeles; MIT Media Lab, Cambridge, Massachusetts; ISEA (International Symposium on Electronic Art) 2012; Banff Centre for Arts and Creativity, Canada; European Media Art Festival; Parsons School of Design, New School, New York; and the Neuberger Museum of Art, Purchase, New York. His work is in the collections of the Walker Art Center, Minneapolis; Rhizome, Turbulence.org (1996–2016), and Cornell University’s Rose Goldsen Archive of New Media Art.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"619","type":"exhibition","attributes":{"id":619,"title":"Data Dynamics","start_time":"2001-03-22T00:00:00.000-05:00","end_time":"2001-06-10T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/data-dynamics","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eData Dynamics\u003c/em\u003e is an exhibition of Internet art that focuses on a prominent issue in this new medium: the search for visual models that represent a continuously changing flow of data and information. These models offer navigational possibilities for experiencing visual and textual information. The Internet art projects included in Data Dynamics are exhibited both as installations in the Museum and in the Whitney's online gallery. Each of the works focuses on different dynamics of data, whether in the context of mapping language, stories, memories, or traffic in physical and virtual spaces.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eData Dynamics\u003c/em\u003e includes five net art projects by Marek Walczak and \u003ca href=\"/artists/8170\"\u003eMartin Wattenber\u003c/a\u003eg, \u003ca href=\"/artists/8203\"\u003eMark Napier\u003c/a\u003e, \u003ca href=\"/artists/9084\"\u003eMaciej Wisniewski\u003c/a\u003e, Beth Stryker and \u003ca href=\"/artists/21637\"\u003eSawad Brooks\u003c/a\u003e, and \u003ca href=\"/artists/10108\"\u003eAdrianne Wortzel\u003c/a\u003e.\u003c/p\u003e\u003cp\u003e\u003cem\u003eData Dynamics\u003c/em\u003e is sponsored by France Telecom North America.\u003c/p\u003e\u003cp\u003eAdditional support has been provided by The Rockefeller Foundation.\u003c/p\u003e","primary_media_id":47816,"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":0.21710526315789475,"created_at":"2020-08-14T14:48:29.717-04:00","updated_at":"2026-10-02T12:26:36.045-04:00","block_editor":{"data":{"id":"2983","type":"block_editor","attributes":{"id":2983,"exhibition_id":619,"page_id":null,"created_at":"2025-06-16T12:37:39.119-04:00","updated_at":"2025-06-16T12:37:39.119-04:00","regions":[]}}}}},{"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, the Henry Luce Foundation, 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 data-pm-slice=\"1 1 []\"\u003eAdditional support is provided by the Endeavor Foundation and the Rasmuson Foundation. \u0026nbsp;\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\u0026nbsp; \u0026nbsp;\u003cimg src=\"https://whitneymedia.org/assets/image/827961/___.png\" 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":0.9144736842105263,"created_at":"2025-12-18T01:36:54.339-05:00","updated_at":"2026-09-28T18:03:20.462-04:00","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":"2441","type":"exhibition","attributes":{"id":2441,"title":"Alex Da Corte: Hot Dog With Ketchup","start_time":"2026-09-21T00:00:00.000-04:00","end_time":"2027-05-10T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/da-corte","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\"\u003e\u003ca href=\"/artists/17310\"\u003eAlex Da Corte\u003c/a\u003e’s \u003cem\u003eHot Dog with Ketchup\u003c/em\u003e (2026) turns a familiar picture into an unruly encounter. Beginning with a printout of Roy Lichtenstein’s painting \u003cem\u003eHot Dog\u003c/em\u003e (1963), Da Corte paints ketchup across its surface in a loose, bodily sweep. The gesture is irreverent, but it also summons the drama of Jackson Pollock’s action painting, bringing Pop’s cool commercial image into contact with the heroic mark of Abstract Expressionism.\u003c/p\u003e\u003cp class=\"large\"\u003eIn Da Corte’s hands, art history is not preserved at a distance but drawn into the realm of appetite, desire, and play. This kind of collision is central to his practice, where familiar icons are made strange through acts of theatrical transformation. \u003cem\u003eHot Dog with Ketchup\u003c/em\u003e is a reproduction made messy, and unsettled, by touch. Lichtenstein himself returned to the topic in \u003cem\u003eHot Dog with Mustard\u003c/em\u003e and related works from 1963–64, making the subject a small but vivid part of his Pop vocabulary. Made partially in response to the hot dog vendors across the street, Da Corte’s version offers site-specific recognition of the vendors themselves, carrying this art historical exchange back into the public life of the street.\u003c/p\u003e\u003cp class=\"large\"\u003eThis billboard is created in conjunction with \u003ca href=\"/exhibitions/lichtenstein\"\u003e\u003cem\u003eRoy Lichtenstein: Like New\u003c/em\u003e\u003c/a\u003e, on view at the Whitney Museum of American Art from October 11, 2026 and co-curated by Da Corte and Meg Onli, Nancy and Fred Poses Curator.\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\u003eAlex Da Corte: Hot Dog with Ketchup\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":65672,"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":0.9703947368421053,"created_at":"2026-08-10T11:33:16.097-04:00","updated_at":"2026-09-28T14:02:58.208-04:00","block_editor":{"data":{"id":"6120","type":"block_editor","attributes":{"id":6120,"exhibition_id":2441,"page_id":null,"created_at":"2026-08-10T11:33:16.193-04:00","updated_at":"2026-08-10T11:33:16.193-04:00","regions":[{"data":{"id":"24711","type":"region","attributes":{"id":24711,"position":1,"columns":12,"block_editor_id":6120,"created_at":"2026-08-11T17:02:27.985-04:00","updated_at":"2026-08-11T17:02:27.985-04:00","region_components":[{"data":{"id":"45400","type":"region_component","attributes":{"id":45400,"component_id":3783,"component_type":"HorizontalRuleComponent","position":1,"region_id":24711,"created_at":"2026-08-11T17:02:27.995-04:00","updated_at":"2026-08-11T17:02:27.995-04:00","component":{"data":{"id":"3783","type":"component","attributes":{"id":3783,"exhibition_id":2441}}}}}}]}}},{"data":{"id":"24712","type":"region","attributes":{"id":24712,"position":2,"columns":12,"block_editor_id":6120,"created_at":"2026-08-11T17:02:28.001-04:00","updated_at":"2026-08-11T17:02:28.001-04:00","region_components":[{"data":{"id":"45401","type":"region_component","attributes":{"id":45401,"component_id":16321,"component_type":"TextComponent","position":1,"region_id":24712,"created_at":"2026-08-11T17:02:28.011-04:00","updated_at":"2026-08-11T17:02:28.011-04:00","component":{"data":{"id":"16321","type":"component","attributes":{"id":16321,"exhibition_id":2441,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAlex Da Corte\u003c/strong\u003e (b. 1980, Camden, New Jersey) is a Venezuelan American artist who lives and works in Philadelphia. His expansive practice has been the subject of major survey exhibitions including \u003cem\u003eThe Whale\u003c/em\u003e at the Modern Art Museum of Fort Worth, \u003cem\u003eFresh Hell\u003c/em\u003e at the 21st Century Museum of Contemporary Art, Kanazawa, and \u003cem\u003eMr. Remember\u003c/em\u003e at the Louisiana Museum of Modern Art. His work has also been featured in the Whitney Biennial, the Venice Biennale, the Carnegie International, and the Metropolitan Museum of Art’s Roof Garden Commission.\u003c/p\u003e\u003cp class=\"large\"\u003eDa Corte has presented solo exhibitions at institutions including Glenstone, the Kölnischer Kunstverein, Secession, the Hammer Museum’s Art + Practice, MASS MoCA, Museum Boijmans van Beuningen, and the Institute of Contemporary Art, Philadelphia. In addition to his work as an artist, he has written longform catalogue essays for major touring exhibitions on \u003ca href=\"/artists/839\"\u003eMarisol\u003c/a\u003e and \u003ca href=\"/artists/688\"\u003eEllsworth Kelly\u003c/a\u003e. He was the 2023 Philip Guston Rome Prize Fellow at the American Academy in Rome. Recently, he co-curated, with Meg Onli, \u003ca href=\"/exhibitions/lichtenstein\"\u003e\u003cem\u003eRoy Lichtenstein\u003c/em\u003e: \u003cem\u003eLike New\u003c/em\u003e\u003c/a\u003e at the Whitney Museum of American Art, the first major museum exhibition of Lichtenstein in New York in more than thirty years.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eEn español\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eAlex Da Corte\u003c/strong\u003e (n. 1980, Camden, Nueva Jersey) es un artista venezolano–estadounidense que vive y trabaja en Filadelfia. Su amplia trayectoria ha sido objeto de importantes exposiciones retrospectivas, entre ellas \u003cem\u003eThe Whale\u003c/em\u003e en el Modern Art Museum of Fort Worth, \u003cem\u003eFresh Hell\u003c/em\u003e en el 21st Century Museum of Contemporary Art de Kanazawa y \u003cem\u003eMr. Remember\u003c/em\u003e en el Louisiana Museum of Modern Art. Su obra también ha formado parte de la Bienal del Whitney, la Bienal de Venecia, el Carnegie International y el proyecto \u003cem\u003eRoof Garden Commission\u003c/em\u003e del Metropolitan Museum of Art.\u003c/p\u003e\u003cp class=\"large\"\u003eDa Corte ha presentado exposiciones individuales en instituciones como Glenstone, el Kölnischer Kunstverein, Secession, Art + Practice (del Hammer Museum), MASS MoCA, el Museum Boijmans van Beuningen y el Institute of Contemporary Art de Filadelfia. Además de su labor artística, ha escrito extensos ensayos para catálogos de importantes exposiciones itinerantes sobre Marisol y Ellsworth Kelly. En 2023, fue becario del Philip Guston Rome Prize en la American Academy en Roma. Recientemente, fue co-curador junto con Meg Onli de la exposición \u003cem\u003eRoy Lichtenstein: Como nuevo\u0026nbsp;\u003c/em\u003een el Whitney Museum of American Art, la primera gran muestra museística dedicada a Lichtenstein en Nueva York en más de treinta años.\u003c/p\u003e"}}}}}},{"data":{"id":"45519","type":"region_component","attributes":{"id":45519,"component_id":16327,"component_type":"TextComponent","position":2,"region_id":24712,"created_at":"2026-09-23T13:12:00.036-04:00","updated_at":"2026-09-23T13:12:00.036-04:00","component":{"data":{"id":"16327","type":"component","attributes":{"id":16327,"exhibition_id":2441,"text":""}}}}}}]}}}]}}}}},{"id":"2430","type":"exhibition","attributes":{"id":2430,"title":"Charles Burchfield: Elemental","start_time":"2026-10-22T00:00:00.000-04:00","end_time":"2027-01-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/charles-burchfield-elemental","primary_text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eOct 22, 2026–Spring 2027\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003eFor more than fifty years, \u003ca href=\"/artists/197\" target=\"_blank\" rel=\"noreferrer noopener\"\u003eCharles Burchfield\u003c/a\u003e (1893–1967) sought to capture what he described as the “tremendous force of nature” in visionary watercolors alive with emotion, atmosphere, and spiritual intensity. Drawn entirely from the Whitney’s collection, this exhibition brings together ten works created between 1916 and 1960 that trace Burchfield’s lifelong reverence for the natural world, from flowering meadows to turbulent skies and shifting seasons. Featuring luminous works such as \u003ca href=\"/collection/works/36540\" target=\"_blank\" rel=\"noreferrer noopener\"\u003e\u003cem\u003eCricket Chorus in the Arbor (1917)\u003c/em\u003e\u003c/a\u003e, \u003ca href=\"/collection/works/10321\" target=\"_blank\" rel=\"noreferrer noopener\"\u003e\u003cem\u003eCold September Rain (1957)\u003c/em\u003e\u003c/a\u003e, and \u003ca href=\"/collection/works/2600\" target=\"_blank\" rel=\"noreferrer noopener\"\u003e\u003cem\u003eAn April Mood (1946–55)\u003c/em\u003e\u003c/a\u003e, the presentation highlights the artist’s ability to transform close observation of the environment into deeply psychological and transcendent compositions. Marking seventy years since the Whitney organized Burchfield’s landmark 1956 retrospective, this exhibition offers a rare opportunity to experience these light-sensitive works together and reconsiders the enduring resonance of Burchfield’s meditations on the elemental forces shaping the world around us.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eCharles Burchfield: Elemental\u003c/em\u003e is part of an ongoing initiative to present rarely seen works from the Whitney’s collection, following exhibitions of Wanda Gág, Jeanne Moutoussamy-Ashe, Claes Oldenburg, and Andy Warhol.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eCharles Burchfield: Elemental\u003c/em\u003e is organized by Caroline Webb, Curatorial Assistant.\u003c/p\u003e","primary_media_id":65689,"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":0.9572368421052632,"created_at":"2026-05-29T01:03:55.983-04:00","updated_at":"2026-09-28T10:07:15.416-04:00","block_editor":{"data":{"id":"6089","type":"block_editor","attributes":{"id":6089,"exhibition_id":2430,"page_id":null,"created_at":"2026-06-23T12:34:01.528-04:00","updated_at":"2026-06-23T12:34:01.528-04:00","regions":[]}}}}},{"id":"278","type":"exhibition","attributes":{"id":278,"title":"The Dumpster","start_time":"2006-01-01T00:00:00.000-05:00","end_time":"2006-12-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"2006/2026","url":"/exhibitions/the-dumpster","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eThe Dumpster\u003c/em\u003e is an interactive online visualization that attempts to depict a slice through the romantic lives of American teenagers. Using real postings extracted from millions of online blogs, visitors to the project can surf through tens of thousands of specific romantic relationships in which one person has \"dumped\" another. The project's graphical tools reveal the astonishing similarities, unique differences, and underlying patterns of these failed relationships, providing both peculiarly analytic and sympathetically intimate perspectives onto the diversity of global romantic pain.\u003c/p\u003e\u003cp class=\"large\"\u003eOriginally created by \u003ca href=\"/artists/8450\"\u003eGolan Levin\u003c/a\u003e, with Kamal Nigam and Jonathan Feinberg, \u003cem\u003eThe Dumpster\u003c/em\u003e was updated by Levin in 2026 to work with modern web browsers without emulation.\u003c/p\u003e\u003cp\u003e\u003cem\u003eThe Dumpster\u0026nbsp;\u003c/em\u003eis the first in a series of three works co-commissioned in collaboration with \u003ca href=\"https://www.tate.org.uk/intermediaart/\"\u003eTate Online\u003c/a\u003e. Critical texts and video interviews with the artists will accompany the works at Tate.\u003c/p\u003e\u003cp\u003eRead more at \u003ca href=\"https://web.archive.org/web/20250818121506/https://www.tate.org.uk/intermediaart/entry15385.shtm\"\u003etate.org.uk\u003c/a\u003e.\u003c/p\u003e\u003cp\u003eThe 2006 version of the 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":57872,"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":0.39473684210526316,"created_at":"2018-07-20T10:35:41.000-04:00","updated_at":"2026-09-24T04:09:03.525-04:00","block_editor":{"data":{"id":"2435","type":"block_editor","attributes":{"id":2435,"exhibition_id":278,"page_id":null,"created_at":"2025-06-16T12:34:36.648-04:00","updated_at":"2025-06-16T12:34:36.648-04:00","regions":[{"data":{"id":"22178","type":"region","attributes":{"id":22178,"position":1,"columns":12,"block_editor_id":2435,"created_at":"2025-02-19T09:52:01.597-05:00","updated_at":"2025-11-25T13:36:31.536-05:00","region_components":[{"data":{"id":"40449","type":"region_component","attributes":{"id":40449,"component_id":14717,"component_type":"TextComponent","position":1,"region_id":22178,"created_at":"2025-02-19T09:52:01.606-05:00","updated_at":"2025-11-25T13:36:31.544-05:00","component":{"data":{"id":"14717","type":"component","attributes":{"id":14717,"exhibition_id":278,"text":"\u003cp class=\"large\"\u003e\u003ca href=\"http://www.flong.com/\"\u003e\u003cstrong\u003eGolan Levin\u003c/strong\u003e\u003c/a\u003e's work combines equal measures of the whimsical, the provocative, and the sublime in a wide variety of online, installation and performance media. He teaches electronic art at Carnegie Mellon University and is represented by bitforms gallery, New York.\u003cbr\u003e\u003cbr\u003e\u003ca href=\"http://www.kamalnigam.com/\"\u003e\u003cstrong\u003eKamal Nigam\u003c/strong\u003e\u003c/a\u003e has expertise in data mining and machine learning, with an emphasis on analyzing text and internet data. Until recently Kamal was the Director of Applied Research at Intelliseek, and is now at the new Google engineering office in Pittsburgh.\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e\u003ca href=\"http://www.mrfeinberg.com/\"\u003eJonathan Feinberg\u003c/a\u003e\u003c/strong\u003e takes pride in executing the invisible-yet-essential. He works at Google in Cambridge, Massachusetts.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"280","type":"exhibition","attributes":{"id":280,"title":"Casey Reas:\u003cbr\u003e{Software} Structures","start_time":"2004-08-01T00:00:00.000-04:00","end_time":"2005-07-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"2004/2016","url":"/exhibitions/software-structures","primary_text":"\u003cp class=\"large\"\u003eInspired by Sol LeWitt's wall drawings, \u003cem\u003e{Software} Structures\u003c/em\u003e explores the relevance of conceptual art to the idea of software as art. \u003ca href=\"http://reas.com\"\u003eCasey Reas\u003c/a\u003e created three unique structures—text descriptions outlining dynamic relations between elements—which were then implemented: twenty-six pieces of software derived from the textual structures were coded to isolate different components, including interpretation, material, and process. For each of them, you may view the software, source code, and comments.\u003c/p\u003e\u003cp class=\"large\"\u003e\"The catalyst for this project is the work of Sol LeWitt, specifically his wall drawings. I had a simple question: 'Is the history of conceptual art relevant to the idea of software as art?'\" explains Reas. \"I began to answer the question by implementing three of Lewitt's drawings in software and then making modifications. After working with the LeWitt plans, I created three structures unique to software. These software structures are text descriptions outlining dynamic relations between elements. They develop in the vague domain of image and then mature in the more defined structures of natural language before any thought is given to a specific machine implementation. Twenty-six pieces of software derived from these structures were written to isolate different components of software structures including interpretation, material, and process. For each, you may view the software, source code, and comments.\"\u003c/p\u003e\u003cp class=\"large\"\u003eOriginally created by Casey Reas with \u003ca href=\"http://levitated.net/\" target=\"_self\"\u003eJared Tarbell\u003c/a\u003e, \u003ca href=\"http://flight404.com/\"\u003eRobert Hodgin\u003c/a\u003e, and \u003ca href=\"http://metaphorical.net/\"\u003eWilliam Ngan\u003c/a\u003e, \u003cem\u003e{Software} Structures\u0026nbsp;\u003c/em\u003ewas restored by Reas in 2016 to work well with modern web browsers. The original software was created as Java Applets which are no longer widely supported in web browsers. The updated version uses JavaScript to be more accessible.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"https://artport.whitney.org/commissions/software-structures-2016/text.html\"\u003eRead more about this project\u003c/a\u003e.\u003c/p\u003e\u003cp\u003eSome of the works within this project rely on Flash or Java applets, emulated through \u003ca href=\"https://ruffle.rs/\"\u003eRuffle\u003c/a\u003e and \u003ca href=\"https://cheerpj.com/\"\u003eCheerpJ\u003c/a\u003e to run in modern browsers.\u003c/p\u003e","primary_media_id":2571,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.756578947368421,"created_at":"2018-07-20T10:47:29.000-04:00","updated_at":"2026-09-24T04:03:15.429-04:00","block_editor":{"data":{"id":"2439","type":"block_editor","attributes":{"id":2439,"exhibition_id":280,"page_id":null,"created_at":"2025-06-16T12:34:36.720-04:00","updated_at":"2025-06-16T12:34:36.720-04:00","regions":[]}}}}},{"id":"275","type":"exhibition","attributes":{"id":275,"title":"Marc Lafia and Fang-Yu Lin:\u003cbr\u003eThe Battle Of Algiers","start_time":"2006-01-01T00:00:00.000-05:00","end_time":"2006-12-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"2006/2018","url":"/exhibitions/battle-of-algiers","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/10377\"\u003eMarc Lafia\u003c/a\u003e and \u003ca href=\"/artists/15352\"\u003eFang-Yu Lin\u003c/a\u003e's \u003cem\u003eThe Battle of Algiers\u003c/em\u003e recomposes scenes from the 1965 film of the same name by Italian director Gillo Pontecorvo. The original film is a reenactment of the Algerian nationalist struggle leading to independence from France in 1962. The success of the actual battle for independence has been attributed to the nationalists’ organization: a pyramidal structure of self-organized cells. Lafia and Lin recomposed the film along a cell-based structure, in which French Authority and the Algerian Nationalist cells are represented by stills from the film and move according to different rule sets. When cells of different camps intersect, they trigger video cells displaying each side’s tactics (as depicted in the film) according to the rules of the system.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eThe Battle of Algiers\u003c/em\u003e was updated in 2018 to work in modern web browsers with a new user interface, as part of \u003ca href=\"/exhibitions/programmed\"\u003e\u003cem\u003eProgrammed: Rules, Codes, and Choreographies in Art, 1965–2018\u003c/em\u003e\u003c/a\u003e.\u003c/p\u003e\u003cp\u003e\u003cem\u003eThe Battle of Algiers\u003c/em\u003e is the second in a series of three works co-commissioned in collaboration with Tate Online. Read more about the work and its 2018 reconstruction at \u003ca href=\"https://www.tate.org.uk/research/reshaping-the-collectible/net-art-commissions-artwork-texts/the-battle-of-algiers-2006-marc-lafia-and-fang-yu-lin\"\u003etate.org.uk\u003c/a\u003e.\u003c/p\u003e","primary_media_id":64901,"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":0.3026315789473684,"created_at":"2018-07-20T09:29:36.000-04:00","updated_at":"2026-09-24T04:02:52.883-04:00","block_editor":{"data":{"id":"2429","type":"block_editor","attributes":{"id":2429,"exhibition_id":275,"page_id":null,"created_at":"2025-06-16T12:34:36.549-04:00","updated_at":"2025-06-16T12:34:36.549-04:00","regions":[{"data":{"id":"22176","type":"region","attributes":{"id":22176,"position":1,"columns":12,"block_editor_id":2429,"created_at":"2025-02-19T09:52:01.539-05:00","updated_at":"2026-04-13T10:15:20.231-04:00","region_components":[{"data":{"id":"40447","type":"region_component","attributes":{"id":40447,"component_id":14715,"component_type":"TextComponent","position":1,"region_id":22176,"created_at":"2025-02-19T09:52:01.548-05:00","updated_at":"2026-04-13T10:15:20.245-04:00","component":{"data":{"id":"14715","type":"component","attributes":{"id":14715,"exhibition_id":275,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eMarc Lafia\u003c/strong\u003e has shown work internationally in seminal exhibitions such as ZKM’s \u003cem\u003eNet Condition\u003c/em\u003e and \u003cem\u003eFuture Cinema\u003c/em\u003e, The Walker Art Center’s \u003cem\u003eLet’s Entertain\u003c/em\u003e, as well as venues including the Georges Pompidou, The ICC Tokyo and other museums and art centers. Throughout his work, including his films and photographs, the image is not understood as a representation or a record of an event but as an event in itself, an entire mode of “going.” For Lafia, computation and algorithmic procedures allow for the production of new structures of organizing image and information, as well as new ways of distributing affects and emotions. His recent “Computations|Permutations” project is an on-going exploration of the limits of the image, as it asks: what is an image? How can it “go”? Lafia lives in Brooklyn, New York, and currently teaches at Columbia University.\u003c/p\u003e\u003cp class=\"large\"\u003eBorn in Taiwan, \u003cstrong\u003eFang-Yu Lin\u003c/strong\u003e is a New York–based new media artist and technologist. Focusing on Internet art and interactive installation, Fang's artwork reflects the interplay of human experience, culture, and technology. In addition to receiving an Honorary Mention from Prix Ars Electronica, his works have been featured in many venues, such as Tate Online, FILE São Paulo, Seoul New Media Festival, Les Rencontres Internationales, Bauhaus Dessau, and SIGGRAPH. Fang also co-authored \u003cem\u003eSwitch Craft: Battery-Powered Crafts to Make and Sew\u003c/em\u003e, a wearable technology DIY book. He holds a MFA in Design \u0026amp; Technology and a MS in Information.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"2321","type":"exhibition","attributes":{"id":2321,"title":"CODeDOC","start_time":"2002-09-01T00:00:00.000-04:00","end_time":"2002-12-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"Sept 2002","url":"/exhibitions/codedoc","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eCODeDOC\u003c/em\u003e is an exhibition consisting of twelve small commissioned works. The project takes a reverse look at “software art” by focusing on and comparing the “back end” of the code that drives the artwork's “front end”—the result of the code, be it visuals or a more abstract communication process.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eA second installment of CODeDOC with eight additional artists was commissioned by Ars Electronica for the 2003 Ars Electronica Festival \u003ca href=\"https://webarchive.ars.electronica.art/code.html\"\u003e\u003cem\u003eCODE–The Language of our Time\u003c/em\u003e\u003c/a\u003e. CODeDOC II launched on September 6, 2003.\u003c/p\u003e","primary_media_id":65323,"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":0.5986842105263158,"created_at":"2025-12-09T09:59:04.559-05:00","updated_at":"2026-09-24T03:31:24.879-04:00","block_editor":{"data":{"id":"5944","type":"block_editor","attributes":{"id":5944,"exhibition_id":2321,"page_id":null,"created_at":"2025-12-09T09:59:04.765-05:00","updated_at":"2025-12-09T09:59:04.765-05:00","regions":[{"data":{"id":"23755","type":"region","attributes":{"id":23755,"position":1,"columns":12,"block_editor_id":5944,"created_at":"2026-01-20T19:04:15.780-05:00","updated_at":"2026-04-01T11:51:50.334-04:00","region_components":[{"data":{"id":"43666","type":"region_component","attributes":{"id":43666,"component_id":15693,"component_type":"TextComponent","position":1,"region_id":23755,"created_at":"2026-01-20T19:04:15.800-05:00","updated_at":"2026-04-01T11:51:50.345-04:00","component":{"data":{"id":"15693","type":"component","attributes":{"id":15693,"exhibition_id":2321,"text":"\u003ch2\u003eCuratorial statement\u003c/h2\u003e\u003cp class=\"large\"\u003eA dozen artists coded a specific \u003ca href=\"https://artport.whitney.org/commissions/codedoc/CODeDOC.html\"\u003eassignment\u003c/a\u003e in a language of their choice and were asked to exchange the code with each other for comments. The assignment was to “connect and move three points in space,” which obviously could be interpreted in a literal or abstract way. The “core” of the code (commonly referred to as the “main”) was not to exceed 8KB, which equals a fairly short text document. The results of the programming are made visible only after the code—what visitors to this site encounter first is a text document of code from which they can launch the front end of the project. The languages in which the code is written are Java, C, Visual Basic, Lingo and Perl. Obviously, this is only a selection of scripting and programming languages. HTML (Hypertext Markup Language), the scripting language on which the World Wide Web is based, and Flash Script were excluded mostly for pragmatic reasons (the inclusion of these languages probably would have doubled the number of artists, making the project unwieldy). Not all of the artists originally invited were able to participate in \u003cem\u003eCODeDOC\u003c/em\u003e due to their busy schedules.\u003c/p\u003e\u003cp class=\"large\"\u003eThe category of software art, commonly used for artist-written software, is a manifestation of fairly blurry terminology. Software is generally defined as formal instructions that can be executed by a computer. However, there is no digital art that doesn't have a layer of code and algorithms, a procedure of formal instructions that accomplish a \"result\" in a finite number of steps. Even if the physical and visual manifestations of digital art distract from the layer of data and code, any 'digital image' has ultimately been produced by instructions and the software that was used to create or manipulate it. It is precisely this layer of 'code' and instructions that constitutes a conceptual level which connects to previous artistic work such as Dada's experiments with formal variations and the conceptual pieces by \u003ca href=\"/artists/1715\"\u003eDuchamp\u003c/a\u003e, \u003ca href=\"/artists/212\"\u003eCage\u003c/a\u003e and \u003ca href=\"/artists/776\"\u003eSol LeWitt\u003c/a\u003e that are based on the execution of instructions.\u003c/p\u003e\u003cp class=\"large\"\u003eWhat distinguishes software art from other artistic practices, is that, unlike any form of visual art, it requires the artist to write a purely verbal description of their work. In traditional art forms, the 'signature' and 'voice' of an artist manifests itself in aesthetics of visuals and execution. Every medium may have its specific language but in digital art, this language has a quite literal rather than figurative manifestation. In software art, the visual results of the artwork are derived from the language of code. Languages are defined by grammar and complex rules and at the same time leave space for individual forms of creative expression. Our identity and the roles we play are expressed in our use of language. One might assume that the aesthetics of artists who write their own source code manifest themselves both in the code itself and its visual results. Artist \u003ca href=\"/artists/5339\"\u003eJohn F. Simon, Jr.\u003c/a\u003e (who wasn't able to participate in the project) has talked about code as a form of creative writing. Code has also been referred to as the medium, the 'paint and canvas,' of the digital artist but it transcends this metaphor in that it even allows artists to write their own tools—to stay with the metaphor, the medium in this case also enables the artist to create the paintbrush and palette.\u003c/p\u003e\u003cp class=\"large\"\u003eThe projects featured as part of \u003cem\u003eCODeDOC\u003c/em\u003e are expressions of distinct artistic signatures: the conceptual approach to the project, the way the code has been written, and the results produced by it reveal a lot about the respective artist. Some of the artists interpret the assignment in a predominantly graphic, visual way; others connect points in the global network of the Internet; one project explicitly treats the language of code as a narrative connecting three \"characters\"; another one creates a meta-layer for profiling the code itself, collapsing the boundaries between front end and back end; yet another project focuses on \"language abuse\" and illegal instructions.\u003c/p\u003e\u003cp class=\"large\"\u003eIntrinsic to software art is a procedural element that allows for reconfiguration and extension, and, as way of commenting on the projects, artists started to 'remix' their work, applying their own code to other projects or combining sections of code into a new project.\u003c/p\u003e\u003cp class=\"large\"\u003eOne does not need to be a programmer and have an in-depth understanding of computer languages to establish a connection between the code and its respective results: even a glance at the artists' source code will reveal certain mathematical functions, and in many cases, the artists' comments on their writing clarify the functionality of a line or section of the code. In some cases, reading the source code will enhance the perception of the work; in other cases, the code doesn't necessarily add to the projects. \u003cem\u003eCODeDOC\u003c/em\u003e is an endeavor to take a closer look at the process of this particular artistic practice, and to raise questions about the parameters of artistic creation.\u003c/p\u003e\u003cp class=\"large\"\u003e—Christiane Paul, Curator of Digital Art\u003c/p\u003e"}}}}}},{"data":{"id":"43667","type":"region_component","attributes":{"id":43667,"component_id":3648,"component_type":"HorizontalRuleComponent","position":2,"region_id":23755,"created_at":"2026-01-20T19:38:55.532-05:00","updated_at":"2026-04-01T11:51:50.355-04:00","component":{"data":{"id":"3648","type":"component","attributes":{"id":3648,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24533","type":"region","attributes":{"id":24533,"position":2,"columns":4,"block_editor_id":5944,"created_at":"2026-06-30T15:30:38.296-04:00","updated_at":"2026-06-30T15:30:38.296-04:00","region_components":[{"data":{"id":"45074","type":"region_component","attributes":{"id":45074,"component_id":15976,"component_type":"MediaComponent","position":1,"region_id":24533,"created_at":"2026-07-02T12:14:41.832-04:00","updated_at":"2026-07-02T12:14:41.832-04:00","component":{"data":{"id":"15976","type":"component","attributes":{"id":15976,"exhibition_id":2321,"media_id":65317,"url":""}}}}}}]}}},{"data":{"id":"23756","type":"region","attributes":{"id":23756,"position":3,"columns":8,"block_editor_id":5944,"created_at":"2026-01-20T19:34:48.911-05:00","updated_at":"2026-06-30T15:30:38.451-04:00","region_components":[{"data":{"id":"43488","type":"region_component","attributes":{"id":43488,"component_id":15644,"component_type":"TextComponent","position":1,"region_id":23756,"created_at":"2025-12-09T09:59:04.919-05:00","updated_at":"2026-04-01T11:51:50.370-04:00","component":{"data":{"id":"15644","type":"component","attributes":{"id":15644,"exhibition_id":2321,"text":"\u003ch2\u003eAxis\u003cbr\u003e\u003cspan class=\"gray\"\u003eJava\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8450\"\u003e\u003cstrong\u003eGolan Levin\u003c/strong\u003e\u003c/a\u003e’s work combines equal measures of the whimsical, the provocative, and the sublime in a wide variety of online, installation and performance media. He teaches electronic art at Carnegie Mellon University and is represented by bitforms gallery, New York.\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://artport.whitney.org/commissions/codedoc/Levin/axis.html\" class=\"btn\"\u003eView project\u0026nbsp;\u003c/a\u003e \u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Levin/index.html\"\u003eView code\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Levin/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\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"}}}}}}]}}},{"data":{"id":"24540","type":"region","attributes":{"id":24540,"position":4,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:18:36.496-04:00","updated_at":"2026-07-02T12:18:36.496-04:00","region_components":[{"data":{"id":"45076","type":"region_component","attributes":{"id":45076,"component_id":3741,"component_type":"HorizontalRuleComponent","position":1,"region_id":24540,"created_at":"2026-07-02T12:18:36.505-04:00","updated_at":"2026-07-02T12:18:36.505-04:00","component":{"data":{"id":"3741","type":"component","attributes":{"id":3741,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24539","type":"region","attributes":{"id":24539,"position":5,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:14:41.845-04:00","updated_at":"2026-07-02T12:14:41.845-04:00","region_components":[{"data":{"id":"45075","type":"region_component","attributes":{"id":45075,"component_id":15977,"component_type":"MediaComponent","position":1,"region_id":24539,"created_at":"2026-07-02T12:14:41.853-04:00","updated_at":"2026-07-02T12:14:41.853-04:00","component":{"data":{"id":"15977","type":"component","attributes":{"id":15977,"exhibition_id":2321,"media_id":65318,"url":""}}}}}}]}}},{"data":{"id":"23673","type":"region","attributes":{"id":23673,"position":6,"columns":8,"block_editor_id":5944,"created_at":"2025-12-09T09:59:04.773-05:00","updated_at":"2026-07-02T12:14:41.905-04:00","region_components":[{"data":{"id":"43492","type":"region_component","attributes":{"id":43492,"component_id":15646,"component_type":"TextComponent","position":1,"region_id":23673,"created_at":"2025-12-09T09:59:05.002-05:00","updated_at":"2026-04-01T11:51:50.400-04:00","component":{"data":{"id":"15646","type":"component","attributes":{"id":15646,"exhibition_id":2321,"text":"\u003ch2\u003e3 Dots\u003cbr\u003e\u003cspan class=\"gray\"\u003eJava\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8203\"\u003e\u003cstrong\u003eMark Napier\u003c/strong\u003e\u003c/a\u003e, a painter turned digital artist, packed up his paints in 1995 and began to create art work exclusively for the Web. He has produced a wide range of Internet projects, including \u003cem\u003eThe Shredder\u003c/em\u003e (1998), an alternative browser that dematerializes the Web; \u003cem\u003eDigital Landfill\u003c/em\u003e (1998), an endless archive of digital debris; and ¨Bots (2000), a tool for building unique pop-culture icons from parts. Napier is noted for his innovative use of the Web as an art medium and for his open-ended evolving projects. He has created commissioned projects for the Guggenheim Museum, SFMOMA (for the exhibition, \u003cem\u003e010101\u003c/em\u003e), the Whitney Museum (for the exhibition, \u003cem\u003eData Dynamics\u003c/em\u003e) and his browser \u003cem\u003eRiot\u003c/em\u003e was included in the Whitney Biennial 2002. He has been shown at ZKM (Zentrum für Kunst und Medientechnologie), Karlsruhe, Germany, was awarded honorable mention by Ars Electronica 99, Linz, Austria, and was chosen for the \u003cem\u003eArt Entertainment Network\u003c/em\u003e exhibition at the Walker Art Center, Minneapolis. Napier lives and works in New York City. His artwork is available on-line at \u003ca href=\"http://potatoland.org/\" target=\"window\"\u003epotatoland.org\u003c/a\u003e.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Napier/code.html\" rel=\"noopener noreferrer\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Napier/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24541","type":"region","attributes":{"id":24541,"position":7,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:18:36.520-04:00","updated_at":"2026-07-02T12:18:36.520-04:00","region_components":[{"data":{"id":"45077","type":"region_component","attributes":{"id":45077,"component_id":3742,"component_type":"HorizontalRuleComponent","position":1,"region_id":24541,"created_at":"2026-07-02T12:18:36.527-04:00","updated_at":"2026-07-02T12:18:36.527-04:00","component":{"data":{"id":"3742","type":"component","attributes":{"id":3742,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24542","type":"region","attributes":{"id":24542,"position":8,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:18:36.532-04:00","updated_at":"2026-07-02T12:18:36.532-04:00","region_components":[{"data":{"id":"45078","type":"region_component","attributes":{"id":45078,"component_id":15978,"component_type":"MediaComponent","position":1,"region_id":24542,"created_at":"2026-07-02T12:18:36.539-04:00","updated_at":"2026-07-02T12:18:36.539-04:00","component":{"data":{"id":"15978","type":"component","attributes":{"id":15978,"exhibition_id":2321,"media_id":65319,"url":""}}}}}}]}}},{"data":{"id":"23674","type":"region","attributes":{"id":23674,"position":9,"columns":8,"block_editor_id":5944,"created_at":"2025-12-09T09:59:04.841-05:00","updated_at":"2026-07-02T12:18:36.608-04:00","region_components":[{"data":{"id":"43494","type":"region_component","attributes":{"id":43494,"component_id":15647,"component_type":"TextComponent","position":1,"region_id":23674,"created_at":"2025-12-09T09:59:05.034-05:00","updated_at":"2026-04-01T11:51:50.415-04:00","component":{"data":{"id":"15647","type":"component","attributes":{"id":15647,"exhibition_id":2321,"text":"\u003ch2\u003eCode Profiles\u003cbr\u003e\u003cspan class=\"gray\"\u003eJava\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8451\"\u003e\u003cstrong\u003eW. Bradford Paley\u003c/strong\u003e\u003c/a\u003e is an artist and interaction designer whose focus in both worlds is the visual interpretation of patterns hidden in information. His work has three primary goals: to create visual filters which let different subjects express their differences; to make the work readable enough that the viewer can gain specific insights; and to reveal complexity in a way that's matched to human perceptual abilities. His visual representations are inspired by the calm but richly layered information in natural scenes. He tries to build with the simplest filters, as if to say \"look how little the filter is doing—the beauty must be in the subject itself.\" He did his first photography in 1968, his first computer imagery in 1973, and founded Digital Image Design Incorporated in 1982. He has exhibited at the Museum of Modern Art; he created \u003ca href=\"http://www.textarc.org/\" target=\"_blank\"\u003eTextArc.org\u003c/a\u003e; and his designs are at work every day in the hands of brokers on the floor of the New York Stock Exchange. He is frequently asked to speak on the subject of interaction design, and pursues an integrated career where design jobs inspire art and art techniques inform design.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Paley/code.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Paley/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\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"}}}}}}]}}},{"data":{"id":"24543","type":"region","attributes":{"id":24543,"position":10,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:18:36.547-04:00","updated_at":"2026-07-02T12:18:36.547-04:00","region_components":[{"data":{"id":"45079","type":"region_component","attributes":{"id":45079,"component_id":3743,"component_type":"HorizontalRuleComponent","position":1,"region_id":24543,"created_at":"2026-07-02T12:18:36.554-04:00","updated_at":"2026-07-02T12:18:36.554-04:00","component":{"data":{"id":"3743","type":"component","attributes":{"id":3743,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24544","type":"region","attributes":{"id":24544,"position":11,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:18:36.558-04:00","updated_at":"2026-07-02T12:18:36.558-04:00","region_components":[{"data":{"id":"45080","type":"region_component","attributes":{"id":45080,"component_id":15979,"component_type":"MediaComponent","position":1,"region_id":24544,"created_at":"2026-07-02T12:18:36.565-04:00","updated_at":"2026-07-02T12:18:36.565-04:00","component":{"data":{"id":"15979","type":"component","attributes":{"id":15979,"exhibition_id":2321,"media_id":65321,"url":""}}}}}}]}}},{"data":{"id":"23675","type":"region","attributes":{"id":23675,"position":12,"columns":8,"block_editor_id":5944,"created_at":"2025-12-09T09:59:04.861-05:00","updated_at":"2026-07-02T12:18:36.609-04:00","region_components":[{"data":{"id":"43496","type":"region_component","attributes":{"id":43496,"component_id":15648,"component_type":"TextComponent","position":1,"region_id":23675,"created_at":"2025-12-09T09:59:05.065-05:00","updated_at":"2026-04-01T11:51:50.434-04:00","component":{"data":{"id":"15648","type":"component","attributes":{"id":15648,"exhibition_id":2321,"text":"\u003ch2\u003eTripolar\u003cbr\u003e\u003cspan class=\"gray\"\u003eJava\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8448\"\u003e\u003cstrong\u003eScott Snibbe\u003c/strong\u003e\u003c/a\u003e explores direct physical perception and the nature of the self using electronic media. His work ranges from large-scale body-centric physical installations to interactive sculpture and screen- and web-based works. His work is noted for being radically interactive—i.e. the artwork consists of experiences that cannot be perceived or understood without direct human interaction. Snibbe's work has been shown internationally at venues including the InterCommunications Center, Tokyo; Ars Electronica, Linz, Austria; Eyebeam, New York City; New Langton Arts, San Francisco; ICA, London; and The Kitchen, New York City. Well known among Snibbe's work are \u003cem\u003eBoundary Functions\u003c/em\u003e (1998), a projection of personal space where one realizes that such space is merely a social construction, and \u003cem\u003eMotion Phone\u003c/em\u003e (1995), a networked system for abstract visual communication based on human movement. Snibbe's background in technological research has included positions at Adobe Systems, Interval Research, Brown University and UC Berkeley. These experiences have informed his art practice as both cultural production and research activity. Snibbe currently lives and works in San Francisco.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Snibbe/Tripolar_java_wc.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Snibbe/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24548","type":"region","attributes":{"id":24548,"position":13,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.195-04:00","updated_at":"2026-07-02T12:25:38.195-04:00","region_components":[{"data":{"id":"45085","type":"region_component","attributes":{"id":45085,"component_id":3744,"component_type":"HorizontalRuleComponent","position":1,"region_id":24548,"created_at":"2026-07-02T12:25:38.203-04:00","updated_at":"2026-07-02T12:25:38.203-04:00","component":{"data":{"id":"3744","type":"component","attributes":{"id":3744,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24549","type":"region","attributes":{"id":24549,"position":14,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.208-04:00","updated_at":"2026-07-02T12:25:38.208-04:00","region_components":[{"data":{"id":"45086","type":"region_component","attributes":{"id":45086,"component_id":15982,"component_type":"MediaComponent","position":1,"region_id":24549,"created_at":"2026-07-02T12:25:38.215-04:00","updated_at":"2026-07-02T12:25:38.215-04:00","component":{"data":{"id":"15982","type":"component","attributes":{"id":15982,"exhibition_id":2321,"media_id":65322,"url":""}}}}}}]}}},{"data":{"id":"23757","type":"region","attributes":{"id":23757,"position":15,"columns":8,"block_editor_id":5944,"created_at":"2026-01-20T19:36:32.083-05:00","updated_at":"2026-07-02T12:25:38.688-04:00","region_components":[{"data":{"id":"43500","type":"region_component","attributes":{"id":43500,"component_id":15650,"component_type":"TextComponent","position":1,"region_id":23757,"created_at":"2025-12-09T09:59:05.118-05:00","updated_at":"2026-04-01T11:51:50.449-04:00","component":{"data":{"id":"15650","type":"component","attributes":{"id":15650,"exhibition_id":2321,"text":"\u003ch2\u003eConnect\u003cbr\u003e\u003cspan class=\"gray\"\u003eJava\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8170\"\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\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Wattenberg/code.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Wattenberg/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24550","type":"region","attributes":{"id":24550,"position":16,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.224-04:00","updated_at":"2026-07-02T12:25:38.224-04:00","region_components":[{"data":{"id":"45087","type":"region_component","attributes":{"id":45087,"component_id":3745,"component_type":"HorizontalRuleComponent","position":1,"region_id":24550,"created_at":"2026-07-02T12:25:38.233-04:00","updated_at":"2026-07-02T12:25:38.233-04:00","component":{"data":{"id":"3745","type":"component","attributes":{"id":3745,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24551","type":"region","attributes":{"id":24551,"position":17,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.237-04:00","updated_at":"2026-07-02T12:25:38.237-04:00","region_components":[{"data":{"id":"45096","type":"region_component","attributes":{"id":45096,"component_id":15984,"component_type":"MediaComponent","position":1,"region_id":24551,"created_at":"2026-07-02T15:30:15.227-04:00","updated_at":"2026-07-02T15:30:15.227-04:00","component":{"data":{"id":"15984","type":"component","attributes":{"id":15984,"exhibition_id":2321,"media_id":65325,"url":""}}}}}}]}}},{"data":{"id":"23758","type":"region","attributes":{"id":23758,"position":18,"columns":8,"block_editor_id":5944,"created_at":"2026-01-20T19:36:32.117-05:00","updated_at":"2026-07-02T12:25:38.689-04:00","region_components":[{"data":{"id":"43502","type":"region_component","attributes":{"id":43502,"component_id":15651,"component_type":"TextComponent","position":1,"region_id":23758,"created_at":"2025-12-09T09:59:05.141-05:00","updated_at":"2026-04-01T11:51:50.464-04:00","component":{"data":{"id":"15651","type":"component","attributes":{"id":15651,"exhibition_id":2321,"text":"\u003ch2\u003eThe Meaning of Life as Expressed in Seven Lines of Code\u003cbr\u003e\u003cspan class=\"gray\"\u003eJava\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/9084\"\u003e\u003cstrong\u003eMaciej Wisniewski\u003c/strong\u003e\u003c/a\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003eis an artist and programmer whose work focuses on the underlying social implications of technology and the Internet. \u003cem\u003enetomatTM\u003c/em\u003e and his earlier projects—\u003cem\u003emetaView\u003c/em\u003e (1998), \u003cem\u003eTurnstile Part I and II\u003c/em\u003e (1998), \u003cem\u003eScanLink\u003c/em\u003e (1998), \u003cem\u003eJackpot\u003c/em\u003e (1996), and \u003cem\u003eTele-Touch\u003c/em\u003e (1996)—have been featured in online and offline exhibitions at Postmasters Gallery, New York; the Whitney Museum of American Art; ZKM Zentrum für Kunst und Medientechnologie Karlsruhe, Germany; Institute of Contemporary Arts, London; Walker Art Center, Minneapolis; Guggenheim Museum SoHo, New York; Johannesburg Biennale; and Benjamin Weil's äda'web. Wisniewski received an MFA from Hunter College, New York, and studied toward a Ph.D. at the Institute for General Linguistics and Computational Linguistics at the University of Stockholm, Sweden.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Wisniewski/Couplet.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Wisniewski/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24552","type":"region","attributes":{"id":24552,"position":19,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.246-04:00","updated_at":"2026-07-02T12:25:38.246-04:00","region_components":[{"data":{"id":"45088","type":"region_component","attributes":{"id":45088,"component_id":3746,"component_type":"HorizontalRuleComponent","position":1,"region_id":24552,"created_at":"2026-07-02T12:25:38.264-04:00","updated_at":"2026-07-02T12:25:38.264-04:00","component":{"data":{"id":"3746","type":"component","attributes":{"id":3746,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24553","type":"region","attributes":{"id":24553,"position":20,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.272-04:00","updated_at":"2026-07-02T12:25:38.272-04:00","region_components":[{"data":{"id":"45097","type":"region_component","attributes":{"id":45097,"component_id":15985,"component_type":"MediaComponent","position":1,"region_id":24553,"created_at":"2026-07-02T15:30:15.251-04:00","updated_at":"2026-07-02T15:30:15.251-04:00","component":{"data":{"id":"15985","type":"component","attributes":{"id":15985,"exhibition_id":2321,"media_id":65326,"url":""}}}}}}]}}},{"data":{"id":"23676","type":"region","attributes":{"id":23676,"position":21,"columns":8,"block_editor_id":5944,"created_at":"2025-12-09T09:59:04.883-05:00","updated_at":"2026-07-02T12:25:38.690-04:00","region_components":[{"data":{"id":"43486","type":"region_component","attributes":{"id":43486,"component_id":15643,"component_type":"TextComponent","position":1,"region_id":23676,"created_at":"2026-01-20T19:36:32.186-05:00","updated_at":"2026-04-01T11:51:50.480-04:00","component":{"data":{"id":"15643","type":"component","attributes":{"id":15643,"exhibition_id":2321,"text":"\u003ch2\u003eJack and Jill\u003cbr\u003e\u003cspan class=\"gray\"\u003eVisual Basic\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003eCa. 1980, Brooklyn-based artist \u003ca href=\"/artists/8240\"\u003e\u003cstrong\u003eJohn Klima\u003c/strong\u003e\u003c/a\u003e (b. 1965) attempted to code a 3D maze on a TRS-80 with 4k RAM and failed miserably, but has been obsessed with 3D graphics ever since. Contracting for companies such as Microsoft, Turner Broadcasting, and Dun \u0026amp; Bradstreet from 1993 to 1998, Klima honed his programming skills while continuing to make art within the flexible schedule that free-lance programming provided. In 1998, Klima discontinued activities as a commercial programmer to focus solely on the creation of art software. He has shown frequently in New York, mounting his first solo exhibition in February 2001 at Postmasters Gallery. His work has been shown at European festivals, such as VIPER (Switzerland) and EMAF (Germany). His work \u003cem\u003eglasbead\u003c/em\u003e was included in the \"New Media New Face\" exhibit at the ICC in Tokyo, Japan (1999) and received the Golden Lasso Award for Art in the Web3DRoundup at SIGGRAPH 2000 in New Orleans. His work \u003cem\u003eecosystm\u003c/em\u003e, commissioned by Zurich Capital Markets, was shown at the Whitney Museum as part of the exhibition \u003cem\u003eBitStreams\u003c/em\u003e (2001). Klima's latest work, \u003cem\u003eEARTH\u003c/em\u003e--previewed at the National Library of Medicine on May 21, 2001, and at SIGGRAPH 2001 in Los Angeles--was included in the 2002 Whitney Biennial. In 2002, he received a grant from the Langlois Foundation for his project \u003cem\u003eTerrain Machine\u003c/em\u003e. Information about his work is available at \u003ca href=\"http://www.cityarts.com/\" target=\"_blank\"\u003ewww.cityarts.com\u003c/a\u003e.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Klima/main.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Klima/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24554","type":"region","attributes":{"id":24554,"position":22,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.284-04:00","updated_at":"2026-07-02T12:25:38.284-04:00","region_components":[{"data":{"id":"45089","type":"region_component","attributes":{"id":45089,"component_id":3747,"component_type":"HorizontalRuleComponent","position":1,"region_id":24554,"created_at":"2026-07-02T12:25:38.299-04:00","updated_at":"2026-07-02T12:25:38.299-04:00","component":{"data":{"id":"3747","type":"component","attributes":{"id":3747,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24555","type":"region","attributes":{"id":24555,"position":23,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.313-04:00","updated_at":"2026-07-02T12:25:38.313-04:00","region_components":[{"data":{"id":"45098","type":"region_component","attributes":{"id":45098,"component_id":15986,"component_type":"MediaComponent","position":1,"region_id":24555,"created_at":"2026-07-02T15:36:58.648-04:00","updated_at":"2026-07-02T15:36:58.648-04:00","component":{"data":{"id":"15986","type":"component","attributes":{"id":15986,"exhibition_id":2321,"media_id":65327,"url":""}}}}}}]}}},{"data":{"id":"23759","type":"region","attributes":{"id":23759,"position":24,"columns":8,"block_editor_id":5944,"created_at":"2026-01-20T19:38:23.620-05:00","updated_at":"2026-07-02T12:25:38.690-04:00","region_components":[{"data":{"id":"43498","type":"region_component","attributes":{"id":43498,"component_id":15649,"component_type":"TextComponent","position":1,"region_id":23759,"created_at":"2025-12-09T09:59:05.090-05:00","updated_at":"2026-04-01T11:51:50.495-04:00","component":{"data":{"id":"15649","type":"component","attributes":{"id":15649,"exhibition_id":2321,"text":"\u003ch2\u003eLinescape\u003cbr\u003e\u003cspan class=\"gray\"\u003eC++\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8449\"\u003e\u003cstrong\u003eCamille Utterback\u003c/strong\u003e\u003c/a\u003e is a pioneering artist and programmer in the field of interactive installation. In 2002, Utterback was one of six artists awarded a Rockefeller Foundation New Media Fellowship. Her work has been exhibited at festivals and galleries internationally including Caren Golden Fine Arts, Cynthia Broan Gallery, and Postmasters Gallery, New York; The NTT InterCommunication Center, Tokyo; The Seoul Metropolitan Museum of Art; The Netherlands Institute for Media Art; The Taipei Museum of Contemporary Art; The Center for Contemporary Art, Kiev, Ukraine; the Ars Electronica Center, Austria. While working as a research fellow at New York University, Utterback developed a video tracking system for which NYU has filed a U.S. patent. She was selected as a member of the 'TR10, the top 100 innovators of the year under 35' by MIT's \u003cem\u003eTechnology Review\u003c/em\u003e (2002). Utterback holds a BA in Art from Williams College, and a Masters degree from The Interactive Telecommunications Program at NYU's Tisch School of the Arts. In addition to creating her own artwork, Utterback develops installations for commercial and museum settings via her company Creative Nerve, and teaches at the Parsons School of Design. More information about her work can be found at \u003ca href=\"http://www.camilleutterback.com/\" target=\"_blank\"\u003ewww.camilleutterback.com\u003c/a\u003e.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Utterback/linescape.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Utterback/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24556","type":"region","attributes":{"id":24556,"position":25,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.349-04:00","updated_at":"2026-07-02T12:25:38.349-04:00","region_components":[{"data":{"id":"45090","type":"region_component","attributes":{"id":45090,"component_id":3748,"component_type":"HorizontalRuleComponent","position":1,"region_id":24556,"created_at":"2026-07-02T12:25:38.492-04:00","updated_at":"2026-07-02T12:25:38.492-04:00","component":{"data":{"id":"3748","type":"component","attributes":{"id":3748,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24557","type":"region","attributes":{"id":24557,"position":26,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.515-04:00","updated_at":"2026-07-02T12:25:38.515-04:00","region_components":[{"data":{"id":"45099","type":"region_component","attributes":{"id":45099,"component_id":15987,"component_type":"MediaComponent","position":1,"region_id":24557,"created_at":"2026-07-02T15:36:58.666-04:00","updated_at":"2026-07-02T15:36:58.666-04:00","component":{"data":{"id":"15987","type":"component","attributes":{"id":15987,"exhibition_id":2321,"media_id":65328,"url":""}}}}}}]}}},{"data":{"id":"23677","type":"region","attributes":{"id":23677,"position":27,"columns":8,"block_editor_id":5944,"created_at":"2025-12-09T09:59:04.903-05:00","updated_at":"2026-07-02T12:25:38.691-04:00","region_components":[{"data":{"id":"43482","type":"region_component","attributes":{"id":43482,"component_id":15641,"component_type":"TextComponent","position":1,"region_id":23677,"created_at":"2026-01-20T19:38:23.684-05:00","updated_at":"2026-04-01T11:51:50.510-04:00","component":{"data":{"id":"15641","type":"component","attributes":{"id":15641,"exhibition_id":2321,"text":"\u003ch2\u003e[remotion]\u003cbr\u003e\u003cspan class=\"gray\"\u003eLingo\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8169\"\u003e\u003cstrong\u003eMary Flanagan\u003c/strong\u003e\u003c/a\u003e is a media practitioner/theorist who investigates the intersection of art, technology, and gender study through critical writing, artwork, and activism. An award winning media developer and artist, Flanagan has exhibited her work at such venues as the Central Fine Arts Gallery in Soho, the Guggenheim Gallery Online at Chapman University, The Physics Room, turbulence.org, New York Hall of Science, UCR/California Museum of Photography, and the Whitney 2002 Biennial. She is also the creator of \u003cem\u003eThe Adventures of Josie True,\u003c/em\u003e the first web-based adventure game for girls. Her projects have been funded by the National Science Foundation, the Pacific Cultural Foundation, the University of Colorado-Boulder, and the National Endowment for the Arts.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Flanagan/remotion.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Flanagan/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24558","type":"region","attributes":{"id":24558,"position":28,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.542-04:00","updated_at":"2026-07-02T12:25:38.542-04:00","region_components":[{"data":{"id":"45091","type":"region_component","attributes":{"id":45091,"component_id":3749,"component_type":"HorizontalRuleComponent","position":1,"region_id":24558,"created_at":"2026-07-02T12:25:38.558-04:00","updated_at":"2026-07-02T12:25:38.558-04:00","component":{"data":{"id":"3749","type":"component","attributes":{"id":3749,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24559","type":"region","attributes":{"id":24559,"position":29,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.566-04:00","updated_at":"2026-07-02T12:25:38.566-04:00","region_components":[{"data":{"id":"45100","type":"region_component","attributes":{"id":45100,"component_id":15988,"component_type":"MediaComponent","position":1,"region_id":24559,"created_at":"2026-07-02T15:40:21.504-04:00","updated_at":"2026-07-02T15:40:21.504-04:00","component":{"data":{"id":"15988","type":"component","attributes":{"id":15988,"exhibition_id":2321,"media_id":65329,"url":""}}}}}}]}}},{"data":{"id":"23760","type":"region","attributes":{"id":23760,"position":30,"columns":8,"block_editor_id":5944,"created_at":"2026-01-20T19:38:23.760-05:00","updated_at":"2026-07-02T12:25:38.692-04:00","region_components":[{"data":{"id":"43490","type":"region_component","attributes":{"id":43490,"component_id":15645,"component_type":"TextComponent","position":1,"region_id":23760,"created_at":"2025-12-09T09:59:04.940-05:00","updated_at":"2026-04-01T11:51:50.524-04:00","component":{"data":{"id":"15645","type":"component","attributes":{"id":15645,"exhibition_id":2321,"text":"\u003ch2\u003eCircler\u003cbr\u003e\u003cspan class=\"gray\"\u003eLingo\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8245\"\u003e\u003cstrong\u003eKevin McCoy\u003c/strong\u003e\u003c/a\u003e is an artist living in Brooklyn, New York. His collaborative work made with his partner Jennifer McCoy has been shown widely in the US and Europe. Information about their projects can be found at \u003ca href=\"http://www.mccoyspace.com/\" target=\"window\"\u003emccoyspace.com\u003c/a\u003e.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/McCoy/code_woc.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/McCoy/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24560","type":"region","attributes":{"id":24560,"position":31,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.593-04:00","updated_at":"2026-07-02T12:25:38.593-04:00","region_components":[{"data":{"id":"45092","type":"region_component","attributes":{"id":45092,"component_id":3750,"component_type":"HorizontalRuleComponent","position":1,"region_id":24560,"created_at":"2026-07-02T12:25:38.645-04:00","updated_at":"2026-07-02T12:25:38.645-04:00","component":{"data":{"id":"3750","type":"component","attributes":{"id":3750,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24561","type":"region","attributes":{"id":24561,"position":32,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.651-04:00","updated_at":"2026-07-02T12:25:38.651-04:00","region_components":[{"data":{"id":"45101","type":"region_component","attributes":{"id":45101,"component_id":15989,"component_type":"MediaComponent","position":1,"region_id":24561,"created_at":"2026-07-02T15:40:21.520-04:00","updated_at":"2026-07-02T15:40:21.520-04:00","component":{"data":{"id":"15989","type":"component","attributes":{"id":15989,"exhibition_id":2321,"media_id":65330,"url":""}}}}}}]}}},{"data":{"id":"23678","type":"region","attributes":{"id":23678,"position":33,"columns":8,"block_editor_id":5944,"created_at":"2025-12-09T09:59:04.930-05:00","updated_at":"2026-07-02T12:25:38.693-04:00","region_components":[{"data":{"id":"43480","type":"region_component","attributes":{"id":43480,"component_id":15640,"component_type":"TextComponent","position":1,"region_id":23678,"created_at":"2026-01-20T19:38:23.825-05:00","updated_at":"2026-04-01T11:51:50.541-04:00","component":{"data":{"id":"15640","type":"component","attributes":{"id":15640,"exhibition_id":2321,"text":"\u003ch2\u003eGlobal City\u003cbr\u003e\u003cspan class=\"gray\"\u003ePerl\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/21637\"\u003e\u003cstrong\u003eSawad Brooks\u003c/strong\u003e\u003c/a\u003e is an internationally shown artist, critic, and award winning designer working with public and information spaces. \u003cem\u003eDissemiNET\u003c/em\u003e (1998-2001), one of his collaborations with Beth Stryker, is a telematic installation commissioned in part by the Wexner Center for the Arts, The Ohio State University. \u003cem\u003eDissemiNET\u003c/em\u003e has been shown internationally, including at the Whitney Museum of American Art, New York, and the Museum Boijmans Van Beuningen, Rotterdam, and is part of the Walker Art Center's Digital Arts Studies Collection, as is Brooks' \u003cem\u003eBowling Alley\u003c/em\u003e (1995), a collaboration with Beth Stryker, Christa Erickson, and Shu Lea Cheang. \u003cem\u003eInvertigo\u003c/em\u003e (1997), a telematic video installation created in collaboration with Beth Stryker and Christa Erickson, was shown at The Banff Centre for the Arts, Alberta, Canada. Sawad’s work has also been shown at such places as the MIT List Visual Arts Center, Cambridge, Massachusetts; the Johannesburg Biennale; and Postmasters Gallery, New York. He has been invited to speak at numerous locations, including the Museum of Modern Art, New York, and the Banff Centre for the Arts. He is currently working with Warren Sack on \"hELLO7734,\" a new network protocol art-research project that interrogates \"translation,\" funded in part by the Arts Technology Center, University of New Mexico, with grants from the Rockefeller Foundation and the NEA. With Goil Amornvivat and generous support from Creative Capital, he is also working on a new line of responsive architecture. Independently, he is working on a series of interactive videos addressing the themes of landscape, public space, and time. He teaches at Brown University's department of Modern Culture and Media.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Brooks/globalcity.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Brooks/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24562","type":"region","attributes":{"id":24562,"position":34,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.664-04:00","updated_at":"2026-07-02T12:25:38.664-04:00","region_components":[{"data":{"id":"45093","type":"region_component","attributes":{"id":45093,"component_id":3751,"component_type":"HorizontalRuleComponent","position":1,"region_id":24562,"created_at":"2026-07-02T12:25:38.672-04:00","updated_at":"2026-07-02T12:25:38.672-04:00","component":{"data":{"id":"3751","type":"component","attributes":{"id":3751,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24563","type":"region","attributes":{"id":24563,"position":35,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.676-04:00","updated_at":"2026-07-02T12:25:38.676-04:00","region_components":[{"data":{"id":"45102","type":"region_component","attributes":{"id":45102,"component_id":15990,"component_type":"MediaComponent","position":1,"region_id":24563,"created_at":"2026-07-02T15:40:21.537-04:00","updated_at":"2026-07-02T15:40:21.537-04:00","component":{"data":{"id":"15990","type":"component","attributes":{"id":15990,"exhibition_id":2321,"media_id":65331,"url":""}}}}}}]}}},{"data":{"id":"23682","type":"region","attributes":{"id":23682,"position":36,"columns":8,"block_editor_id":5944,"created_at":"2025-12-09T09:59:05.079-05:00","updated_at":"2026-07-02T12:25:38.694-04:00","region_components":[{"data":{"id":"43484","type":"region_component","attributes":{"id":43484,"component_id":15642,"component_type":"TextComponent","position":1,"region_id":23682,"created_at":"2026-01-20T19:38:39.752-05:00","updated_at":"2026-04-01T11:51:50.564-04:00","component":{"data":{"id":"15642","type":"component","attributes":{"id":15642,"exhibition_id":2321,"text":"\u003ch2\u003eWYSIWYG\u003cbr\u003e\u003cspan class=\"gray\"\u003ePerl/Text\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8447\"\u003e\u003cstrong\u003eAlexander R. Galloway\u003c/strong\u003e\u003c/a\u003e is an artist and computer programmer. As the founding member of the Radical Software Group (RSG), he is the creator of \u003cem\u003eCarnivore\u003c/em\u003e, a networked surveillance tool based on the notorious FBI software of the same name. Carnivore has been exhibited internationally and won a Golden Nica at Ars Electronica 2002. Alex's first book, \u003cem\u003ePROTOCOL\u003c/em\u003e, or, \u003cem\u003eHow Control Exists After Decentralization\u003c/em\u003e, will be published in 2003 by The MIT Press.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Galloway/WYSIWYG.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Galloway/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"2294","type":"exhibition","attributes":{"id":2294,"title":"Whitney Biennial 2026","start_time":"2026-03-08T00:00:00.000-05:00","end_time":"2026-10-12T00:00:00.000-04:00","member_start_time":"2026-03-04T00:00:00.000-05:00","member_end_time":"2026-03-07T00:00:00.000-05:00","date_override":"On Partial view through Oct 12","url":"/exhibitions/2026-biennial","primary_text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eFloor 5 will remain on view through Aug 23\u003c/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cstrong\u003eFloor 1 \u003cstrong\u003ewill remain on view through\u003c/strong\u003e Sept 7\u003c/strong\u003e\u003c/strong\u003e\u003cbr\u003e\u003cstrong\u003eFloor 6 \u003cstrong\u003ewill remain on view through\u003c/strong\u003e Oct 12\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003eThe eighty-second edition of the Whitney Biennial, like those before it, offers a space for contemplating the shifting currents of art in the United States, asking not only what is being made but also what it means to name something “American” at all. Attentive to the feelings that saturate contemporary life and bind people together, this Biennial is less a definitive answer than an invitation to tune in to the moods offered by an intergenerational and international group of fifty-six artists, duos, and collectives who sustain this ongoing conversation. Alongside artists from across the country, the exhibition features works by artists from places marked by the broad reach of US power, ranging from Afghanistan to Vietnam. Using a range of media and artistic strategies, they explore interspecies kinships, familial relations, geopolitical entanglements, technological affinities, infrastructural networks, precarious ecologies, and shared mythologies. As an ensemble, their works suggest togetherness through difference—avoiding clear ideological declarations in favor of the unusual alliances, improvised provocations, and irreverent associations that are required to thrive in the present moment.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eThis exhibition includes a \u003ca href=\"/billboard\" data-turbo-frame=\"_top\"\u003e\u003cstrong\u003ebillboard\u003c/strong\u003e\u003c/a\u003e across from the Museum’s entrance on Gansevoort Street.\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eWhitney Biennial 2026\u003c/em\u003e is co-organized by Whitney curators Marcela Guerrero, the DeMartini Family Curator, and Drew Sawyer, the Sondra Gilman Curator of Photography with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow.\u003c/p\u003e\u003csection\u003e\u003cp class=\"large\"\u003eReview \u003ca href=\"/exhibitions/2026-biennial/accessibility-information\" data-turbo-frame=\"_top\"\u003eaccessibility information\u003c/a\u003e before visiting \u003cem\u003eWhitney Biennial 2026\u003c/em\u003e.\u003c/p\u003e\u003c/section\u003e","primary_media_id":65042,"override_media_id":64738,"sign_media_id":64839,"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":0.9967105263157895,"created_at":"2025-05-14T12:24:08.166-04:00","updated_at":"2026-09-21T13:10:34.397-04:00","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":"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":"2026-09-20T00:00:00.000-04:00","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":0.8256578947368421,"created_at":"2026-02-25T16:10:36.358-05:00","updated_at":"2026-09-21T09:39:15.858-04:00","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":"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\u003cp\u003eMajor support for \u003cem\u003eFarah Al Qasimi: TAILSPIN\u003c/em\u003e is provided by the John R. Eckel, Jr. Foundation.\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":0.8947368421052632,"created_at":"2026-06-23T12:36:28.741-04:00","updated_at":"2026-09-17T17:21:39.441-04:00","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":"1090","type":"exhibition","attributes":{"id":1090,"title":"Amy Alexander: The Travesty Corporate PR InfoMixer!","start_time":"2002-09-01T00:00:00.000-04:00","end_time":"2002-09-30T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"September 2002","url":"/exhibitions/amy-alexander","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8341\"\u003eAmy Alexander\u003c/a\u003e’s \u003cem\u003eThe Travesty Corporate PR InfoMixer!\u003c/em\u003e is a remix software that parodies corporate press releases by combining and reorganizing them. Built with “Travesty,” a Perl program that rearranges texts based on the frequency with which pairs of words appear, the project invites users to make their own remixes. They can choose three corporations (“Select Corporate Artists!”) from a provided list or download the software to reshuffle the texts of companies of their choice. Drawing inspiration from DJs and computer musicians who combine and remix dance tracks, the work challenges the homogenized language of corporate public relations, underscoring how an impersonal tone and specialized jargon often turn into a generic, formulaic form of press speak.\u003c/p\u003e","primary_media_id":56348,"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":0.12171052631578948,"created_at":"2023-08-30T11:42:09.461-04:00","updated_at":"2026-09-16T10:53:36.891-04:00","block_editor":{"data":{"id":"3689","type":"block_editor","attributes":{"id":3689,"exhibition_id":1090,"page_id":null,"created_at":"2025-06-16T12:38:18.976-04:00","updated_at":"2025-06-16T12:38:18.976-04:00","regions":[{"data":{"id":"24130","type":"region","attributes":{"id":24130,"position":1,"columns":12,"block_editor_id":3689,"created_at":"2026-03-30T15:45:39.239-04:00","updated_at":"2026-03-30T20:46:17.847-04:00","region_components":[{"data":{"id":"44362","type":"region_component","attributes":{"id":44362,"component_id":15910,"component_type":"TextComponent","position":1,"region_id":24130,"created_at":"2026-03-30T15:45:39.249-04:00","updated_at":"2026-03-30T20:46:17.854-04:00","component":{"data":{"id":"15910","type":"component","attributes":{"id":15910,"exhibition_id":1090,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAmy Alexander\u003c/strong\u003e (b. 1965; Philadelphia, Pennsylvania) has worked in net art, software art, networked installation, audiovisual performance, film, video, music, and information technology. She is a professor in the Visual Arts Department at the University of California, San Diego, and her research and practice focus on how contemporary mediums—from performative cinema to social media—change along with cultural and technological shifts. Alexander’s projects have been exhibited at venues including the Whitney Museum of American Art and the New Museum in New York; Ars Electronica, Linz, Austria; Transmediale, Berlin; as well as [ACM] SIGGRAPH, ISEA (International Symposium on Electronic Art), ZERO1, and NIME (New Interfaces for Musical Expression). Her club performances have been featured at Sonar, Barcelona; First Avenue, Minneapolis; and Melkweg, Amsterdam. Alexander’s work has been discussed in publications including \u003cem\u003eWIRED\u003c/em\u003e, the \u003cem\u003eNew York Times\u003c/em\u003e, \u003cem\u003eSlashdot\u003c/em\u003e, \u003cem\u003eEcrans\u003c/em\u003e, \u003cem\u003eLeonardo\u003c/em\u003e, the \u003cem\u003eBoston Globe\u003c/em\u003e, and the \u003cem\u003eWashington Post\u003c/em\u003e.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"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":"","url":"/exhibitions/lichtenstein-1997","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003e\u003cstrong\u003eRoy Lichtenstein: 1997\u003c/strong\u003e\u003c/em\u003e\u003cstrong\u003e\u0026nbsp;is presented on the Museum's 3rd floor. This exhibition runs in conjunction with the major exhibition\u0026nbsp;\u003c/strong\u003e\u003ca href=\"/exhibitions/lichtenstein\"\u003e\u003cstrong\u003e\u003cem\u003eRoy Lichtenstein: Like New\u003c/em\u003e\u003c/strong\u003e\u003c/a\u003e\u003cstrong\u003e, opening October 11 on the Museum's 5th floor.\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003eIn 1997, at the age of seventy-three, \u003ca href=\"/artists/779\"\u003eRoy Lichtenstein\u003c/a\u003e (1923–1997) was as innovative and productive as ever. In addition to his studio painting practice, he was working on a variety of adventurous projects, among them two mural commissions, several large-scale sculptures, and a new series of prints. Decades after his paintings inspired by comics and other images of American consumer culture helped usher in the Pop art era, Lichtenstein began to expand his palette of mostly primary colors, adding vibrant highlights of mint green and turquoise, coral and cyan. He also started to make work without his signature bold black outlines, resulting in images that respond to the aesthetics of the early digital age. At the same time, he continued to reuse images, such as pyramids and brushstrokes, from his own work and to quote an array of visual references, including iconic works by Leonardo da Vinci and Henri Matisse, as he had done throughout his career.\u003c/p\u003e\u003cp class=\"large\"\u003eLichtenstein fell ill in August 1997 and died unexpectedly the following month due to complications from pneumonia, leaving a number of works unfinished. Some were fabricated or completed posthumously, while others exist only as sketches. By bringing together materials related to these projects, many from the Whitney's collection, \u003cem\u003eRoy Lichtenstein: 1997\u0026nbsp;\u003c/em\u003eoffers insight into the range of the artist's late experimentation and illustrates his ongoing interest in new technologies and their effects on image making.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eRoy Lichtenstein: 1997\u003c/em\u003e is organized by David Crane, Curatorial Research Associate, and Nakai Falcón, Curatorial Assistant.\u003c/p\u003e\u003cp data-pm-slice=\"1 1 []\"\u003eGenerous support for \u003cem\u003eRoy Lichtenstein: 1997\u003c/em\u003e is provided by David Bolger.\u0026nbsp;\u003c/p\u003e","primary_media_id":65304,"override_media_id":null,"sign_media_id":65304,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.9901315789473685,"created_at":"2026-05-07T01:00:12.425-04:00","updated_at":"2026-09-10T14:19:00.819-04:00","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":"283","type":"exhibition","attributes":{"id":283,"title":"Tina LaPorta: voyeur_web","start_time":"2001-07-01T00:00:00.000-04:00","end_time":"2001-07-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"2001","url":"/exhibitions/voyeur-web","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8243\"\u003eTina LaPorta\u003c/a\u003e's \u003cem\u003evoyeur_web\u003c/em\u003e collapses the private and public spheres by connecting the blueprint of an apartment to images from webcams that open a view into the apartment's rooms. During the month of July 2001, \u003cem\u003evoyeur_web\u003c/em\u003e linked to live webcams. The links have been replaced with an archive version of the original work.\u003c/p\u003e","primary_media_id":2574,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.4605263157894737,"created_at":"2018-07-20T10:58:42.000-04:00","updated_at":"2026-09-10T12:11:43.725-04:00","block_editor":{"data":{"id":"2445","type":"block_editor","attributes":{"id":2445,"exhibition_id":283,"page_id":null,"created_at":"2025-06-16T12:34:36.924-04:00","updated_at":"2025-06-16T12:34:36.924-04:00","regions":[{"data":{"id":"22182","type":"region","attributes":{"id":22182,"position":1,"columns":12,"block_editor_id":2445,"created_at":"2025-02-19T09:52:01.713-05:00","updated_at":"2025-02-19T09:52:01.713-05:00","region_components":[{"data":{"id":"40454","type":"region_component","attributes":{"id":40454,"component_id":14721,"component_type":"TextComponent","position":1,"region_id":22182,"created_at":"2025-02-19T09:52:01.721-05:00","updated_at":"2025-02-19T09:52:01.729-05:00","component":{"data":{"id":"14721","type":"component","attributes":{"id":14721,"exhibition_id":283,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eTina LaPorta\u003c/strong\u003e is a media artist who lives and works in New York City. Her most recent work has been created specifically for the Internet. She recently received the Web Residency Commission 2000 of The Alternative Museum, where she completed her World Wide Web work \u003cem\u003e\u003ca href=\"http://telematic.walkerart.org/datasphere/laporta_index.html\" target=\"_blank\"\u003eRe:mote_corp@REALities\u003c/a\u003e\u003c/em\u003e. In 1999, LaPorta received a commission for the creation of \u003cem\u003e\u003ca href=\"http://turbulence.org/Works/Distance/\" target=\"window\"\u003eDistance\u003c/a\u003e\u003c/em\u003e, a web-specific work hosted on Turbulence.org. Her work has been included in the exhibitions \u003cem\u003eTelematic Connections: The Virtual Embrace\u003c/em\u003e (2001); the \u003cem\u003eTechnically Engaged\u0026nbsp;\u003c/em\u003eshow at AIR Gallery, NYC (2000); the\u003cem\u003eDystopia and Identity in the Age of Global Communications\u003c/em\u003eexhibition at Tribes Gallery in NYC (2000); and in \u003cem\u003eBody as Byte\u0026nbsp;\u003c/em\u003eat Neues Kunstmuseum Luzern, Switzerland. LaPorta has been invited to participate in several symposia and on-line projects, including \"The Warhol Hijack,\" at weliveinpublic.com; \"Gender in New Media,\" an on-line panel at the \"INVENCAO: Thinking The Next Millennium\" conference, Sao Paulo, Brazil; and \"\u003ca href=\"http://heelstone.com/meridian/templates/laporta/\"\u003eAlterities: Interdisciplinarity and Feminine Practices of Space\u003c/a\u003e\" at the Ecole Suprieure Nationale des Beaux Arts, Paris, France.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"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":0.8980263157894737,"created_at":"2026-04-02T06:00:23.417-04:00","updated_at":"2026-09-02T16:06:02.259-04:00","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":"2326","type":"exhibition","attributes":{"id":2326,"title":"The Lost World: The Art of Minnie Evans","start_time":"2026-08-22T00:00:00.000-04:00","end_time":"2027-01-10T00:00:00.000-05:00","member_start_time":"2026-08-19T00:00:00.000-04:00","member_end_time":"2026-08-21T00:00:00.000-04:00","date_override":"","url":"/exhibitions/the-lost-world","primary_text":"\u003cp class=\"large\"\u003eInspired by vivid dreams and visions, \u003ca href=\"/artists/406\"\u003eMinnie Evans\u003c/a\u003e (1892–1987) made her first drawing in 1935 after the death of her beloved grandmother. During the subsequent decades, the artist created hundreds of radiant pencil and crayon drawings, oil paintings, and collages that combined imagery from her Afro-Caribbean heritage, mythology, religion, popular culture, decorative arts, and the natural environment of her native Wilmington, North Carolina. Her dense, kaleidoscopic compositions include images of angels, mythical creatures, watchful faces, and intricate patterns that suggest harmony and transcendence amid hints of an unsettling disquiet. At once evocative and mysterious, these works imagine a protective, spiritual province that existed before the great flood in the Bible—what the artist referred to as the \"lost world.\"\u003c/p\u003e\u003cp class=\"large\"\u003eBy the 1960s, Evans's work had begun to garner national recognition. After small gallery exhibitions in Wilmington and New York, she was profiled in \u003cem\u003eNewsweek\u003c/em\u003e in 1969. Group exhibitions at museums followed shortly thereafter, leading to a one-person exhibition at the Whitney in 1975. More than five decades later, this retrospective offers an opportunity to experience the visionary merging of the everyday and the divine that runs through Evans's work.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eThe Lost World: The Art of Minnie Evans\u003c/em\u003e is organized by the High Museum of Art, Atlanta, and curated by Katherine Jentleson, the High Museum’s Senior Curator of American Art and Merrie and Dan Boone Curator of Folk and Self-Taught Art. The presentation at the Whitney Museum of American Art is organized by Barbara Haskell, Curator, with Caroline Webb, Curatorial Assistant.\u003c/p\u003e\u003cp\u003eMajor support for \u003cem\u003eThe Lost World: The Art of Minnie Evans\u003c/em\u003e is provided by the Barbara Haskell American Fellows Legacy Fund and the Kapadia Equity Fund.\u003c/p\u003e","primary_media_id":65303,"override_media_id":null,"sign_media_id":null,"feature_id":114,"artwork_series_id":null,"installation_series_id":2666,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.993421052631579,"created_at":"2025-12-31T00:25:48.360-05:00","updated_at":"2026-09-01T14:25:59.155-04:00","block_editor":{"data":{"id":"6030","type":"block_editor","attributes":{"id":6030,"exhibition_id":2326,"page_id":null,"created_at":"2026-03-10T13:29:49.541-04:00","updated_at":"2026-03-10T13:29:49.541-04:00","regions":[]}}}}},{"id":"1069","type":"exhibition","attributes":{"id":1069,"title":"Edges of Ailey","start_time":"2024-09-25T00:00:00.000-04:00","end_time":"2025-02-09T00:00:00.000-05:00","member_start_time":"2024-09-19T00:00:00.000-04:00","member_end_time":"2024-09-23T00:00:00.000-04:00","date_override":"","url":"/exhibitions/edges-of-ailey","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eEdges of Ailey\u003c/em\u003e is the first large-scale museum exhibition to celebrate the life, dances, influences, and enduring legacy of visionary artist and choreographer \u003ca href=\"/artists/t6396\"\u003eAlvin Ailey\u003c/a\u003e (b. 1931, Rogers, Texas; d. 1989, New York, New York). This dynamic showcase—described as an “extravaganza” by curator Adrienne Edwards—brings together visual art, live performance, music, a range of archival materials, and a multi-screen video installation drawn from recordings of Alvin Ailey American Dance Theater (AAADT) repertory to explore the full range of Ailey’s personal and creative life. \u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003ePresented at the Museum in two parts, \u003cem\u003eEdges of Ailey\u003c/em\u003e consists of an immersive exhibition in the Museum’s 18,000 square-foot fifth-floor galleries—featuring works by more than eighty artists and revelatory archival material—and an ambitious suite of performances in the Museum’s third-floor theater, including AILEY in residence for one week each month during the exhibition.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eSweeping holdings of rarely seen archives, including performance footage, recorded interviews, notebooks, letters, poems, short stories, choreographic notes, drawings, and performance programs and posters gathered from Ailey’s archives and others forge a vital throughline in the gallery. Selections from the Alvin Ailey Archival Papers—courtesy of the Allan Gray Family Foundation and held at the Black Archives of Mid America in Kansas City, Missouri—and the Alvin Ailey Dance Foundation Archives Collection held at the Library of Congress are of singular importance, specially digitized and exhibited for this show’s occasion. A dynamic montage of Ailey’s life and dances will play on loop across an 18-channel video installation created by filmmakers Josh Begley and Kya Lou, with curator Adrienne Edwards. \u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eAiley’s presence, felt through the video surround and his encased personal effects, envelops a scenic installation of artworks by over eighty artists. These works are arranged by themes that shaped Ailey’s life and dances. Sections span an expanded Black southern imaginary that enfolds histories of the American South with those of the Caribbean, Brazil, and West Africa; the enduring practices of Black spirituality; the profound conditions and effects of Black migration; the resilience for and necessity of an intersectional Black liberation; the prominence of Black women in Ailey’s life; and the robust histories and experiments of Black music; along with the myriad representations of Blackness in dance and meditations on dance after Ailey.\u003c/p\u003e\u003cp class=\"large\"\u003eArtists exhibited among Ailey include \u003ca href=\"/artists/69\"\u003eJean-Michel Basquiat\u003c/a\u003e, \u003ca href=\"/artists/80\"\u003eRomare Bearden\u003c/a\u003e, \u003ca href=\"/artists/14995\"\u003eFaith Ringgold\u003c/a\u003e, \u003ca href=\"/artists/1326\"\u003eAlma Thomas\u003c/a\u003e, \u003ca href=\"/artists/759\"\u003eJacob Lawrence\u003c/a\u003e, \u003ca href=\"/artists/8851\"\u003eRashid Johnson\u003c/a\u003e, \u003ca href=\"/artists/15056\"\u003eKevin Beasley\u003c/a\u003e, \u003ca href=\"/artists/4563\"\u003eKara Walker\u003c/a\u003e, and many others. A recent acquisition of Eldren Bailey and new works by Karon Davis, \u003ca href=\"/artists/18966\"\u003eJennifer Packer\u003c/a\u003e, \u003ca href=\"/artists/11868\"\u003eMickalene Thomas\u003c/a\u003e, and Lynette Yiadom-Boakye will be presented for the first time in honor of this landmark exhibition. \u0026nbsp;\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eEdges of Ailey\u003c/em\u003e also offers a rare opportunity for visitors to watch intimate live performances by Alvin Ailey American Dance Theater in the Museum’s third-floor theater. As part of the exhibition's robust live \u003ca href=\"/exhibitions/edges-of-ailey/performances\"\u003eperformance program\u003c/a\u003e, AILEY is in residence at the Whitney for one week each month, for a total of five weeks and over ninety performances. This gives visitors the opportunity to experience the full scope of Ailey's world and legacy, including performances of classic and contemporary works by the two repertory companies—Alvin Ailey American Dance Theater and Ailey II—as well as showcases by students from The Ailey School, workshops and education programs from Ailey Arts In Education, and classes from Ailey Extension. During the weeks AILEY is not in residence at the Museum, a series of dance commissions by leading choreographers and their collaborators, including Ronald K. Brown, Trajal Harrell, Bill T. Jones, Ralph Lemon, with interdisciplinary artist \u003ca href=\"/artists/15056\"\u003eKevin Beasley\u003c/a\u003e, Sarah Michelson, \u003ca href=\"/artists/18870\"\u003eOkwui Okpokwasili\u003c/a\u003e and \u003ca href=\"/artists/18882\"\u003ePeter Born\u003c/a\u003e, Will Rawls, Matthew Rushing, Yusha-Marie Sorzano, and Jawole Willa Jo Zollar will be showcased. \u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eVisitors can also see Alvin Ailey American Dance Theater during the company's \u003ca href=\"https://ailey.org/series/ailey-new-york-city-center\"\u003eannual engagement at New York City Center\u003c/a\u003e from December 4 to January 5.\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003eEdges of Ailey is organized by the Whitney Museum of American Art in collaboration with the Alvin Ailey Dance Foundation. Special acknowledgment to the Allan Gray Family Foundation and the Black Archives of Mid-America in Kansas City for access to archival materials. The exhibition is curated by Adrienne Edwards, Engell Speyer Family Senior Curator and Associate Director of Curatorial Programs, with Joshua Lubin-Levy, Curatorial Research Associate, and CJ Salapare, Curatorial Assistant, with thanks to Katie Fong, Curatorial Assistant, for research support.\u0026nbsp;\u003c/p\u003e\u003cp\u003eReview \u003ca href=\"/exhibitions/edges-of-ailey/accessibility-information\"\u003eaccessibility information\u003c/a\u003e before visiting Edges of Ailey.\u003c/p\u003e\u003cp\u003eThe lead sponsor for \u003cem\u003eEdges of Ailey\u0026nbsp;\u003c/em\u003eis the Jerome L. Greene Foundation.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/829205/gf02_H_logotype_purple_final.jpg\" style=\" height: 30px;\"\u003e\u003c/p\u003e\u003cp\u003eThis exhibition is also sponsored by\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824959/bofa_lo1_rgb_Digital.png\" style=\" height: 25px;\"\u003e \u0026nbsp;\u003cbr\u003e\u003cimg\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824938/Delta_c_r__2_.jpg\" style=\" height: 20px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u003cimg\u003e\u003c/p\u003e\u003cp\u003eLeadership support is provided by the Ford Foundation.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/830693/large_Ford-single-black.jpg\" style=\" height: 20px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u003cimg\u003e\u003c/p\u003e\u003cp\u003eGenerous support is provided by Judy Hart Angelo and the Arnhold Family | Arnhold Foundation.\u003c/p\u003e\u003cp\u003eMajor support is provided by the Barbara Haskell American Fellows Legacy Fund; the Horace W. Goldsmith Foundation; The KHR McNeely Family Fund | Kevin, Rosemary, and Hannah Rose McNeely; Anne-Cecilie Engell Speyer and Rob Speyer; the Whitney’s National Committee; and Clara Wu Tsai.\u003c/p\u003e\u003cp\u003eSignificant support is provided by The Holly Peterson Foundation, The Keith Haring Foundation Exhibition Fund, the National Endowment for the Arts, and Denise Littlefield Sobel.\u003c/p\u003e\u003cp\u003eAdditional support is provided by A4 Arts Charitable Trust, the Adam D. Weinberg Artists First Fund, Candace and Rick Beinecke, Jeanne Donovan Fisher, Kevin Gan and Benjamin Blad, The Harkness Foundation for Dance, Nancy Magoon, Jeanne Greenberg Rohatyn and Nicolas Rohatyn, and an anonymous donor.\u003c/p\u003e\u003cp\u003eCuratorial research and travel for this exhibition were funded by an endowment established by Rosina Lee Yue and Bert A. Lies, Jr., MD.\u003c/p\u003e\u003cp\u003eSupport is also provided by the Marshall Weinberg Fund for Performance, endowed in honor of his parents Anna and Harold Weinberg who taught him the meaning of giving.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/830765/large_2018-LogoBW-Horizontal.jpg\" style=\" height: 70px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u003cimg\u003e\u003c/p\u003e\u003cp\u003eGenerous support for the catalogue is provided by the Mellon Foundation.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/827959/Mellon_Logomark_Lockup_Black_copy.png\" style=\" height: 36px;\"\u003e\u003c/p\u003e\u003cp\u003eFCB New York is the exclusive marketing agency sponsor.\u003cem\u003e\u0026nbsp;New York\u003c/em\u003e magazine is the exclusive media sponsor.\u003c/p\u003e","primary_media_id":60338,"override_media_id":60471,"sign_media_id":59862,"feature_id":98,"artwork_series_id":null,"installation_series_id":2627,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“I love the look of it, the sound of it, the ideas it floats.”—\u003cem\u003e\u003ca href=\"https://www.nytimes.com/2024/09/26/arts/design/whitney-museum-alvin-ailey-show-review.html?partner=calculated\"\u003eThe New York Times\u0026nbsp;\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“One of the most ambitious shows the museum has ever presented…”—\u003cem\u003e\u003ca href=\"https://www.nytimes.com/2024/09/03/arts/dance/alvin-ailey-whitney-museum-nyc.html\"\u003eThe New York Times\u003c/a\u003e \u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“Alvin Ailey has never left the hearts of dancers, and it is that legacy which guides\u0026nbsp;Edges of Ailey.”—\u003cem\u003e\u003ca href=\"https://www.vanityfair.com/style/photos/the-ailey-legacy-takes-center-stage-at-the-whitney-museum\"\u003eVanity Fair\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“As much as ‘Edges of Ailey’ is a celebration of the late, great choreographer, it is also an ode to the world of Black art and to Edwards’s dazzling curatorial vision.”—\u003cem\u003e\u003ca href=\"https://www.thecut.com/article/whitney-museum-alvin-ailey-dr-adrienne-edwards-curator-interview.html\"\u003eThe Cut\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“Edges of Ailey\u0026nbsp;is not just an exhibition; it is a celebration of a living legacy.”—\u003cem\u003e\u003ca href=\"https://www.essence.com/fashion/edges-of-ailey-exhibit-whitney-museum/\"\u003eESSENCE\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“...affirms the artist’s place as one of the most culturally and historically significant artistic figures in the United States and the world.”—\u003cem\u003e\u003ca href=\"https://www.forbes.com/sites/chaddscott/2024/09/01/highlights-of-a-busy-september-2024-arts-calendar-in-new-york-city/\"\u003eForbes\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“...it should not be missed”—\u003cem\u003e\u003ca href=\"https://www.wsj.com/arts-culture/fine-art/edges-of-ailey-review-a-dancers-art-at-the-whitney-a20b928a\"\u003eThe Wall Street Journal\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“...an expansive new survey….”—\u003cem\u003e\u003ca href=\"https://www.harpersbazaar.com/culture/features/a61687835/judith-jamison-and-kyle-abraham-on-the-life-and-legacy-of-alvin-ailey/\"\u003eHarper's Bazaar\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“...not only an homage to Ailey, but a picture of his life and how dance fit into all the other creative pursuits he chased”—\u003cem\u003e\u003ca href=\"https://www.wmagazine.com/culture/alvin-ailey-edges-of-ailey-whitney-museum-2024\"\u003eW Magazine\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“...an essential injection of sheer joy and contemporary cultural history”—\u003cem\u003e\u003ca href=\"https://www.forbes.com/sites/natashagural/2024/10/25/edges-of-ailey-at-the-whitney-museum-an-immersive-blockbuster-exhibition-celebrating-the-enduring-legacy-of-alvin-ailey/\"\u003eForbes\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“It was not at all what I expected, and I am so glad for that.”—\u003cem\u003e\u003ca href=\"https://observer.com/2024/10/art-review-edges-of-ailey-the-whitney/\"\u003eObserver\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“The first of its kind…”—\u003cem\u003e\u003ca href=\"https://hypebeast.com/2024/10/alvin-ailey-revelations-performance-whitney-museum-new-york\"\u003eHYPEBEAST\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“... showcase Ailey’s­ ‘extraordinary curiosity’”—\u003cem\u003e\u003ca href=\"https://www.dancemagazine.com/edges-of-ailey-whitney/#gsc.tab=0\"\u003eDance Magazine\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“...a masterfully curated celebration of one of America’s greatest artists”—\u003cem\u003e\u003ca href=\"https://www.newyorksaid.com/a-dance-through-time-the-legacy-of-alvin-ailey-at-the-whitney-museum/\"\u003eNew York Said\u0026nbsp;\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“Dancer Alvin Ailey Comes Into Full Focus in Stunning, Genre-Blurring Whitney Show”—\u003cem\u003e\u003ca href=\"https://news.artnet.com/art-world/dancer-alvin-ailey-comes-into-full-focus-in-stunning-genre-blurring-whitney-show-2546342?amp=1\"\u003eArtnet News\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“This must-see exhibition at the Whitney Museum of American Art pays excellent tribute to Ailey’s dances”—\u003cem\u003e\u003ca href=\"https://www.ebony.com/inside-whitney-museum-new-exhibition-edges-of-ailey/\"\u003eEbony\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“Ailey receives a show worthy of his greatness…”—\u003cem\u003e\u003ca href=\"https://www.theguardian.com/stage/2024/oct/17/alvin-ailey-new-exhibition-whitney-new-york\"\u003eThe Guardian\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"...a visual stream that flows through Ailey’s history and reflects his restlessness, his desire to stay in motion, to keep going beyond 'Revelations.'\"—\u003ca href=\"https://www.newyorker.com/magazine/2024/10/21/the-house-that-alvin-ailey-built\"\u003e\u003cem\u003eThe New Yorker\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...stunning, groundbreaking, exhibition dedicated to the brilliant, mold-shattering choreographic genius Alvin Ailey…”—\u003cem\u003e\u003ca href=\"https://amsterdamnews.com/news/2024/09/26/the-whitney-museums-edges-of-ailey-presents-the-essence-of-ailey/\"\u003eNew York Amsterdam News\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e","audio_description":"\u003cp\u003eJourney to 1977, when the Alvin Ailey American Dance Theater performed at the opening night of Studio 54.\u0026nbsp;\u003c/p\u003e","videos_description":"","popularity":0.9046052631578947,"created_at":"2023-07-19T14:23:56.363-04:00","updated_at":"2026-08-26T14:34:27.968-04:00","block_editor":{"data":{"id":"3659","type":"block_editor","attributes":{"id":3659,"exhibition_id":1069,"page_id":null,"created_at":"2025-06-16T12:38:17.218-04:00","updated_at":"2025-06-16T12:38:17.218-04:00","regions":[{"data":{"id":"22234","type":"region","attributes":{"id":22234,"position":1,"columns":12,"block_editor_id":3659,"created_at":"2025-02-19T09:52:05.498-05:00","updated_at":"2026-04-01T14:30:57.275-04:00","region_components":[{"data":{"id":"40528","type":"region_component","attributes":{"id":40528,"component_id":32,"component_type":"JumplinkComponent","position":1,"region_id":22234,"created_at":"2025-02-19T09:52:05.507-05:00","updated_at":"2026-04-01T14:30:57.284-04:00","component":{"data":{"id":"32","type":"component","attributes":{"id":32,"exhibition_id":1069,"text":"Performances"}}}}}},{"data":{"id":"40529","type":"region_component","attributes":{"id":40529,"component_id":14763,"component_type":"TextComponent","position":2,"region_id":22234,"created_at":"2025-02-19T09:52:05.525-05:00","updated_at":"2026-04-01T14:30:57.292-04:00","component":{"data":{"id":"14763","type":"component","attributes":{"id":14763,"exhibition_id":1069,"text":"\u003ch2\u003ePerformances\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003cem\u003eEdges of Ailey\u003c/em\u003e includes a \u003ca href=\"/exhibitions/edges-of-ailey/performances\"\u003esuite of performances\u003c/a\u003e in the Museum’s third-floor theater. Alongside the Alvin Ailey American Dance Theater and Ailey II, the performance program will feature an array of artists inspired by and responding to the legacy of Alvin Ailey.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003ePerformance tickets are now on sale. Tickets are limited and must be booked in advance. Performance ticket holders will receive same-day access to the \u003cem\u003eEdges of Ailey\u003c/em\u003e exhibition during regular Museum hours.\u0026nbsp;Visitors can also see Alvin Ailey American Dance Theater during the company's\u0026nbsp;\u003ca href=\"https://ailey.org/series/ailey-new-york-city-center\"\u003eannual engagement at New York City Center\u003c/a\u003e from December 4 to January 5.\u0026nbsp;\u003c/p\u003e"}}}}}},{"data":{"id":"40530","type":"region_component","attributes":{"id":40530,"component_id":243,"component_type":"EventsComponent","position":3,"region_id":22234,"created_at":"2025-02-19T09:52:05.541-05:00","updated_at":"2026-04-01T14:30:57.299-04:00","component":{"data":{"id":"243","type":"component","attributes":{"id":243,"exhibition_id":1069}}}}}}]}}},{"data":{"id":"22235","type":"region","attributes":{"id":22235,"position":2,"columns":12,"block_editor_id":3659,"created_at":"2025-02-19T09:52:05.605-05:00","updated_at":"2026-04-01T14:30:57.307-04:00","region_components":[{"data":{"id":"40531","type":"region_component","attributes":{"id":40531,"component_id":3278,"component_type":"HorizontalRuleComponent","position":1,"region_id":22235,"created_at":"2025-02-19T09:52:05.615-05:00","updated_at":"2026-04-01T14:30:57.315-04:00","component":{"data":{"id":"3278","type":"component","attributes":{"id":3278,"exhibition_id":1069}}}}}}]}}},{"data":{"id":"22236","type":"region","attributes":{"id":22236,"position":3,"columns":6,"block_editor_id":3659,"created_at":"2025-02-19T09:52:05.629-05:00","updated_at":"2026-04-01T14:30:57.323-04:00","region_components":[{"data":{"id":"40532","type":"region_component","attributes":{"id":40532,"component_id":14764,"component_type":"TextComponent","position":1,"region_id":22236,"created_at":"2025-02-19T09:52:05.637-05:00","updated_at":"2026-04-01T14:30:57.330-04:00","component":{"data":{"id":"14764","type":"component","attributes":{"id":14764,"exhibition_id":1069,"text":"\u003ch3\u003e\u003ca href=\"/exhibitions/edges-of-ailey/alvin-ailey-and-me\"\u003e\u003cstrong\u003eAlvin Ailey and Me\u003c/strong\u003e\u003c/a\u003e\u003c/h3\u003e\u003cp class=\"large\"\u003eAlvin Ailey and Me is a project that asks members of the public to share personal stories of how the enduring legacy and influence of iconic dancer, choreographer, and artist Alvin Ailey's life and work has impacted them. These stories celebrate and showcase the lasting, far-reaching impact that this influential artist continues to have: a key theme in \u003cem\u003eEdges of Ailey\u003c/em\u003e.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/edges-of-ailey/alvin-ailey-and-me\" class=\"btn\"\u003eLearn more about Alvin Ailey and Me\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"22237","type":"region","attributes":{"id":22237,"position":4,"columns":6,"block_editor_id":3659,"created_at":"2025-02-19T09:52:05.651-05:00","updated_at":"2026-04-01T14:30:57.342-04:00","region_components":[{"data":{"id":"40533","type":"region_component","attributes":{"id":40533,"component_id":13959,"component_type":"MediaComponent","position":1,"region_id":22237,"created_at":"2025-02-19T09:52:05.659-05:00","updated_at":"2026-04-01T14:30:57.349-04:00","component":{"data":{"id":"13959","type":"component","attributes":{"id":13959,"exhibition_id":1069,"media_id":61037,"url":""}}}}}}]}}},{"data":{"id":"24720","type":"region","attributes":{"id":24720,"position":5,"columns":12,"block_editor_id":3659,"created_at":"2026-08-26T14:34:00.419-04:00","updated_at":"2026-08-26T14:34:00.419-04:00","region_components":[{"data":{"id":"45426","type":"region_component","attributes":{"id":45426,"component_id":3784,"component_type":"HorizontalRuleComponent","position":1,"region_id":24720,"created_at":"2026-08-26T14:34:00.430-04:00","updated_at":"2026-08-26T14:34:00.430-04:00","component":{"data":{"id":"3784","type":"component","attributes":{"id":3784,"exhibition_id":1069}}}}}}]}}},{"data":{"id":"24721","type":"region","attributes":{"id":24721,"position":6,"columns":6,"block_editor_id":3659,"created_at":"2026-08-26T14:34:00.435-04:00","updated_at":"2026-08-26T14:34:00.435-04:00","region_components":[{"data":{"id":"45427","type":"region_component","attributes":{"id":45427,"component_id":16147,"component_type":"MediaComponent","position":1,"region_id":24721,"created_at":"2026-08-26T14:34:00.444-04:00","updated_at":"2026-08-26T14:34:00.444-04:00","component":{"data":{"id":"16147","type":"component","attributes":{"id":16147,"exhibition_id":1069,"media_id":65728,"url":"/www/ailey/arcs/index.html"}}}}}},{"data":{"id":"45429","type":"region_component","attributes":{"id":45429,"component_id":16323,"component_type":"TextComponent","position":2,"region_id":24721,"created_at":"2026-08-26T14:34:27.935-04:00","updated_at":"2026-08-26T14:34:27.935-04:00","component":{"data":{"id":"16323","type":"component","attributes":{"id":16323,"exhibition_id":1069,"text":"\u003cp\u003e\u003ca href=\"/www/ailey/arcs/index.html\"\u003e\u003cstrong\u003eVisualization from \"Repertory as Living Dance Museum: The Alvin Ailey American Dance Theater's Performance History, 1958–89\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"/www/ailey/globe/index.html\"\u003e\u003cstrong\u003eVisualization from \"Global Architectures: The Alvin Ailey American Dance Theater, City by City and Year by Year, 1958–89\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"/www/ailey/streams/index.html\"\u003e\u003cstrong\u003eVisualization from \"Generations of Embodied Knowledge: The Alvin Ailey American Dance Theater's Dance Artists, 1958–2023\"\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24722","type":"region","attributes":{"id":24722,"position":7,"columns":6,"block_editor_id":3659,"created_at":"2026-08-26T14:34:00.449-04:00","updated_at":"2026-08-26T14:34:00.449-04:00","region_components":[{"data":{"id":"45428","type":"region_component","attributes":{"id":45428,"component_id":16322,"component_type":"TextComponent","position":1,"region_id":24722,"created_at":"2026-08-26T14:34:00.457-04:00","updated_at":"2026-08-26T14:34:00.457-04:00","component":{"data":{"id":"16322","type":"component","attributes":{"id":16322,"exhibition_id":1069,"text":"\u003ch2\u003e\u003cstrong\u003eRadical Accounting: Alvin Ailey American Dance Theater’s Data as a Framework for Historical Imagination\u003c/strong\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003eThese three animations transform archival materials to visualize the reach of the Alvin Ailey American Dance Theater (AAADT). They show how the AAADT grew from a small touring company to a global phenomenon, charting the impact of Ailey not only as a choreographer but also as someone who shared a living history of dance with audiences around the world. In doing so, the series traces embodied knowledge across generations of dancers.\u003c/p\u003e\u003cp class=\"large\"\u003eFor nearly three years, researchers Harmony Bench and Kate Elswit composed the datasets underlying these models from more than thirty-thousand documents located in archives across the United States. Materials ranged from programs and tour itineraries to performer diaries and other personal materials, as well as data previously compiled by the AAADT. Drawing movement from static records, the process of intentional data curation and visualization works to construct a new framework for historical imagination. This brings each dancer, performance venue, and choreography into view, foregrounding how dance histories are collective and interdependent.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"2301","type":"exhibition","attributes":{"id":2301,"title":"“Untitled” (America)","start_time":"2025-07-05T00:00:00.000-04:00","end_time":"2029-06-05T00:00:00.000-04:00","member_start_time":"2025-07-02T00:00:00.000-04:00","member_end_time":"2025-07-04T00:00:00.000-04:00","date_override":"","url":"/exhibitions/untitled-america","primary_text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eThis exhibition opened July 5, 2025 and will be on continuous view.\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition features renowned works from the Whitney’s collection alongside recent acquisitions, highlighting key ideas and approaches in American art from 1900 through the early 1980s. Beginning with the Whitney’s robust holdings in figurative and realist traditions, the presentation considers how artists have responded to place and memory in the American landscape, popular culture and the rise of consumerism, the seductions and illusions of mass media, and the spatial and cultural dynamics of abstraction.\u003c/p\u003e\u003cp class=\"large\"\u003eIn 1930 sculptor and philanthropist \u003ca href=\"/artists/1415\"\u003eGertrude Vanderbilt Whitney\u003c/a\u003e founded the Whitney Museum of American Art as a means of supporting living artists and creating a platform for contemporary American art. Her vision has inspired the Museum’s collecting practice for nearly a century, even as the very idea of “America” has continued to evolve. \u003cem\u003e“\u003c/em\u003e\u003ca href=\"/collection/works/27963\"\u003e\u003cem\u003eUntitled” (America)\u003c/em\u003e\u003c/a\u003e pays homage to artist \u003ca href=\"/artists/3454\"\u003eFelix Gonzalez-Torres\u003c/a\u003e, whose work of the same title illuminates a window in the exhibition, creating a passage between the Museum and the world beyond. Writing about this work, Gonzalez-Torres reflected: “America has always been an unattainable dream, a place to dream about. . . . The America that I now know is still a place of light, a place of opportunities, of risks, of justice, of racism, of injustice, of hunger and excess, of pleasure and growth. Democracy is a constant job, a collective dedication.” In that spirit, this presentation invites viewers to explore the distinct visions of “America” put forth by artists as they took stock of the pressing ideas of their time and imagined new possibilities.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003e“Untitled” (America)\u003c/em\u003e is organized by Kim Conaty, Nancy and Steve Crown Family Chief Curator, with Antonia Pocock, Curatorial Assistant.\u003c/p\u003e\u003cp class=\"large\"\u003eThis presentation of the Whitney’s collection is dedicated to the memory of Leonard A. Lauder, Chairman Emeritus.\u003c/p\u003e\u003cp\u003e\u003cem\u003eUntitled (America)\u0026nbsp;\u003c/em\u003eis sponsored by\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/823977/MM_logo_black.jpg\" style=\"height:25px;\"\u003e\u003c/p\u003e\u003cp\u003eMajor support is provided by Judy Hart Angelo, the Barbara Haskell American Fellows Legacy Fund, Lise and Michael Evans, Meg and Bennett Goodman, The KHR McNeely Family Foundation | Kevin, Rosemary, and Hannah Rose McNeely, Stephanie March and Dan Benton, and The Ron and Kerry Moelis Family Foundation.\u003c/p\u003e\u003cp\u003eSignificant support is provided by Jill and Darius Bikoff and Elizabeth Marsteller Gordon.\u003c/p\u003e\u003cp\u003eGenerous support is provided by The Erving and Joyce Wolf Foundation, Timothy Greensfelder, the O’Grady Foundation, Susanne and William E. Pritchard III, the Thomas \u0026amp; Linda Koehn Foundation, and an anonymous donor.\u003c/p\u003e\u003cp\u003eAdditional support is provided by Ann Ames.\u003c/p\u003e\u003cp\u003eSpanish translation for “\u003cem\u003eUntitled” \u0026nbsp;(America)\u003c/em\u003e is made possible through the support of Claudia Laviada and Carlos Rohm, and Stephanie March and Dan Benton.\u003c/p\u003e","primary_media_id":63991,"override_media_id":null,"sign_media_id":65332,"feature_id":107,"artwork_series_id":null,"installation_series_id":2650,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.9802631578947368,"created_at":"2025-06-11T10:53:23.306-04:00","updated_at":"2026-08-20T16:02:03.352-04:00","block_editor":{"data":{"id":"5851","type":"block_editor","attributes":{"id":5851,"exhibition_id":2301,"page_id":null,"created_at":"2025-06-16T12:38:42.524-04:00","updated_at":"2025-06-16T12:38:42.524-04:00","regions":[]}}}}},{"id":"1089","type":"exhibition","attributes":{"id":1089,"title":"Mendi + Keith Obadike: The Interaction of Coloreds","start_time":"2002-08-01T00:00:00.000-04:00","end_time":"2002-08-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"August 2002","url":"/exhibitions/mendi-keith-obadike","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eThe Interaction of Coloreds\u003c/em\u003e, part of \u003ca href=\"/artists/8340\"\u003eMendi + Keith Obadike\u003c/a\u003e’s Black Net.Art Actions, explores patterns of racial classification on the web. Drawing attention to the strong link between skin color and money in the filtering and tracking inherent to e-commerce, the artists created the Color Check System, which is considered the world’s first online skin-color verification system. The interactive website enables the translation of skin tone, as captured in a photo or screenshot, into a six-digit, three-byte hexadecimal number used in HTML (an online scripting language) to represent color: #FFFFFF, for example, equals white.\u003c/p\u003e\u003cp class=\"large\"\u003eUsing satire as strategy, the work prompts conversations about racial discrimination in internet commerce. It also critiqued the tactics utilized in the early 2000s by online commercial ventures to position the web as a space without prejudice, free from bias due to physical appearance, and therefore devoid entirely of notions of race.\u003c/p\u003e","primary_media_id":56346,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.16776315789473684,"created_at":"2023-08-29T21:20:38.641-04:00","updated_at":"2026-08-19T17:35:48.009-04:00","block_editor":{"data":{"id":"3687","type":"block_editor","attributes":{"id":3687,"exhibition_id":1089,"page_id":null,"created_at":"2025-06-16T12:38:18.950-04:00","updated_at":"2025-06-16T12:38:18.950-04:00","regions":[{"data":{"id":"24129","type":"region","attributes":{"id":24129,"position":1,"columns":12,"block_editor_id":3687,"created_at":"2026-03-30T15:40:39.763-04:00","updated_at":"2026-03-30T15:40:39.811-04:00","region_components":[{"data":{"id":"44361","type":"region_component","attributes":{"id":44361,"component_id":15909,"component_type":"TextComponent","position":1,"region_id":24129,"created_at":"2026-03-30T15:40:39.799-04:00","updated_at":"2026-03-30T15:40:39.799-04:00","component":{"data":{"id":"15909","type":"component","attributes":{"id":15909,"exhibition_id":1089,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eMendi + Keith Obadike\u003c/strong\u003e (established 1996, Nashville, Tennessee) are artists, composers, and writers whose works draw upon histories of experimental media art and performance. Their early collaborations were pioneering pieces for the Internet. Their projects include a series of large-scale, sound artworks that engage cities, architecture, and public space include the projects \u003cem\u003eBlues Speaker (for James Baldwin)\u003c/em\u003e (2015) at the New School’s University Center, New York; \u003cem\u003eFree/Phase\u003c/em\u003e (2014–15) at the Chicago Cultural Center and the Rebuild Foundation, Chicago; \u003cem\u003eSonic Migration\u003c/em\u003e (2015–16) at Tindley Temple, Philadelphia; \u003cem\u003eCompass Song\u0026nbsp;\u003c/em\u003e(2017), an app for New York’s Times Square; and \u003cem\u003eSlowDrag\u003c/em\u003e (2023) in the St. Louis Place community, Missouri. Mendi + Keith Obadike have released recordings on Bridge Records and books with Lotus Press and 1913 Press. Their work has been shown in New York at the New Museum, the Studio Museum in Harlem, the Metropolitan Museum of Art, and the Museum of Modern Art; and in exhibitions including \u003cem\u003eElectronic Superhighway (2016–1966)\u003c/em\u003e (2016) at the Whitechapel Gallery, London; \u003cem\u003eI Was Raised on The Internet\u003c/em\u003e (2018) at the Museum of Contemporary Art, Chicago; \u003cem\u003eProgrammed: Rules, Codes, and Choreographies in Art, 1965–2018\u003c/em\u003e (2018–19) at the Whitney Museum of American Art, New York; and \u003cem\u003eDifference Machines: Technology and Identity in Contemporary Art\u003c/em\u003e (2021) at the Buffalo AKG Art Museum. They have received a Rockefeller New Media Arts Fellowship (2004), a Pick-Laudati Award for Digital Art (2007), a New York Foundation for the Arts fellowship in fiction (2010), the Louis Comfort Tiffany Biennial Award (2016), and have served as the David Tudor Composers in Residence at Mills College at Northeastern University, Oakland (2021). Mendi + Keith Obadike are professors at Cornell University, Ithaca, and serve on the boards of Rhizome and the Vera List Center for Art and Politics, New York.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1082","type":"exhibition","attributes":{"id":1082,"title":"Zhang Ga: étant donnés: to be looked at with two eyes, about 2 feet away (from the screen), for precisely one minute; clicked, even; red, yellow, blue","start_time":"2002-01-01T00:00:00.000-05:00","end_time":"2002-01-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"January 2002","url":"/exhibitions/zhang-ga","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8206\"\u003eZhang Ga\u003c/a\u003e’s Gate Page reimagined iconic artworks by Marcel Duchamp and Barnett Newman. Duchamp’s \u003cem\u003eÉtant donnés\u003c/em\u003e (1966) assemblage features a nude woman—lying in front of a landscape and holding a gas lamp—viewable only through peepholes in a wooden door. Zhang Ga xeroxed a reproduction of the tableau, animated it with flickering light shone through the woman’s handheld lamp, and streamed it live with a webcam. The title of the Gate Page also references Duchamp’s \u003cem\u003eTo Be Looked at (from the Other Side of the Glass) with One Eye, Close to, for Almost an Hour\u003c/em\u003e (1918), a painting between two glass panes, and updates it: not with one eye but two, not close to but two feet from the screen, and not for an hour but one minute. An interactive script interrupted the stream of the photocopied image with areas of red, yellow, and blue, alluding to Newman’s series \u003cem\u003eWho’s Afraid of\u003c/em\u003e \u003cem\u003eRed, Yellow and Blue\u003c/em\u003e (1966–70). While Newman’s canvases demand sustained contemplation, the color fields of the Gate Page appear only momentarily, echoing the short attention spans of screen culture. The work, now shown as a simulation of the original live stream, staged a dialogue between Duchamp’s optical provocations and Newman’s chromatic sublime, reframed as the flicker, click, and refresh of the internet.\u003c/p\u003e\u003cp class=\"large\"\u003eConservation by Xu Chong.\u003c/p\u003e","primary_media_id":65106,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.1118421052631579,"created_at":"2023-08-24T00:12:31.540-04:00","updated_at":"2026-08-17T11:56:05.640-04:00","block_editor":{"data":{"id":"3673","type":"block_editor","attributes":{"id":3673,"exhibition_id":1082,"page_id":null,"created_at":"2025-06-16T12:38:18.640-04:00","updated_at":"2025-06-16T12:38:18.640-04:00","regions":[{"data":{"id":"23854","type":"region","attributes":{"id":23854,"position":1,"columns":12,"block_editor_id":3673,"created_at":"2026-03-09T11:09:44.504-04:00","updated_at":"2026-03-09T11:10:45.874-04:00","region_components":[{"data":{"id":"43923","type":"region_component","attributes":{"id":43923,"component_id":15761,"component_type":"TextComponent","position":1,"region_id":23854,"created_at":"2026-03-09T11:09:44.518-04:00","updated_at":"2026-03-09T11:10:45.883-04:00","component":{"data":{"id":"15761","type":"component","attributes":{"id":15761,"exhibition_id":1082,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eZhang Ga\u003c/strong\u003e (b. 1963; Hangzhou, China) is an artist, curator, writer, and educator working at the intersection of culture and tech­nology. Formerly the director of the New York–based Netart Initiative, Zhang Ga has exhib­ited and lectured on media art worldwide and has published in \u003cem\u003eOctober\u003c/em\u003e, \u003cem\u003eFlash Art International\u003c/em\u003e, and with the MIT Press. He directed Chronus Art Center, Shanghai, from 2015 to 2025, and is the former consulting curator of media art at the National Art Museum of China, Beijing, where he curated three editions of its international media art triennial (2008-2014). Other curatorial work includes \u003ci\u003eKairos Resounding: Julian Charrière \u0026amp; Laurent Grasso\u003c/i\u003e (798 Cube, Beijing, 2026),\u0026nbsp;\u003cem\u003eZHANG Peili\u0026nbsp;\u003c/em\u003e(Red Brick Art Museum, Beijing, 2024–25), \u003cem\u003eTopologies of the Real\u0026nbsp;\u003c/em\u003e(Shen­zhen Museum of Contemporary Art and Urban Planning, China, 2023), \u003cem\u003eMotion Is Action: 35 Years of Chinese Media Art\u0026nbsp;\u003c/em\u003e(By Art Matters Museum, Hangzhou, China, 2023), the 6th Guangzhou Triennial (2018), and \u003cem\u003eDatumsoria: The Return of the Real\u003c/em\u003e (ZKM Center for Art and Media Karlsruhe, Germany, 2017). Zhang Ga is co-director of Media Art 21 (\u003ca href=\"https://ma21.org/\" title=\"https://ma21.org/\" data-outlook-id=\"5cadcd28-41dd-45e7-9246-4285aa441ddc\"\u003ema21.org\u003c/a\u003e) and Distinguished Professor at the Central Academy of Fine Arts, Beijing.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1121","type":"exhibition","attributes":{"id":1121,"title":"Zhang Ga: The Peoples’ Portrait: A Globally Networked Public Art Project","start_time":"2004-11-01T00:00:00.000-05:00","end_time":"2004-11-30T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"November 2004","url":"/exhibitions/zhang-ga-2004","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8206\"\u003eZhang Ga\u003c/a\u003e’s \u003cem\u003eThe Peoples’ Portrait: A Globally Networked Public Art Project\u003c/em\u003e is a participatory, networked, public art project that creates a global portrait of people, rendered in real time and displayed instantly and simultaneously on large video walls around the world and online. The 2004 version was shown on both the artport Gate Page and the website of the MECAD Media Center for Art and Design in Barcelona. Kiosks equipped with cameras set up by the artist allowed passersby to take snapshots that were instantly transmitted to a central server. The portraits were then displayed in real time on video walls at Reuters’s Times Square Headquarters, New York; the Museum of the Future at Ars Electronica Center, Linz, Austria; DEAF04 (Dutch Electronic Art Festival 2004), Rotterdam, Netherlands; SENI Fest in Singapore; and MAAP (Multimedia Art Asia Pacific) and Queensland University of Technology in Brisbane, Australia. The images were shown first in chronological order then randomly from the expanding online archive. By using network and communication infrastructures as image-making tools, Zhang Ga collapses time and space and challenges traditional understanding of portraiture and authorship in the digital age.\u003c/p\u003e\u003cp\u003eMore information about \u003cem\u003eThe Peoples' Portrait\u003c/em\u003e is available on \u003ca href=\"https://www.thing.net/~zhang/people/\"\u003ething.net\u003c/a\u003e.\u003c/p\u003e","primary_media_id":56603,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.1875,"created_at":"2023-09-28T21:51:26.599-04:00","updated_at":"2026-08-17T11:55:53.643-04:00","block_editor":{"data":{"id":"3749","type":"block_editor","attributes":{"id":3749,"exhibition_id":1121,"page_id":null,"created_at":"2025-06-16T12:38:21.630-04:00","updated_at":"2025-06-16T12:38:21.630-04:00","regions":[{"data":{"id":"24170","type":"region","attributes":{"id":24170,"position":1,"columns":12,"block_editor_id":3749,"created_at":"2026-04-13T16:07:27.591-04:00","updated_at":"2026-04-13T16:07:27.639-04:00","region_components":[{"data":{"id":"44446","type":"region_component","attributes":{"id":44446,"component_id":15949,"component_type":"TextComponent","position":1,"region_id":24170,"created_at":"2026-04-13T16:07:27.625-04:00","updated_at":"2026-04-13T16:07:27.625-04:00","component":{"data":{"id":"15949","type":"component","attributes":{"id":15949,"exhibition_id":1121,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eZhang Ga\u0026nbsp;\u003c/strong\u003e(b. 1963; Hangzhou, China) is an artist, curator, writer, and educator working at the intersection of culture and tech­nology. Formerly the director of the New York–based Netart Initiative, Zhang Ga has exhib­ited and lectured on media art worldwide and has published in \u003cem\u003eOctober\u003c/em\u003e, \u003cem\u003eFlash Art International\u003c/em\u003e, and with the MIT Press. He directed Chronus Art Center, Shanghai, from 2015 to 2025, and is the former consulting curator of media art at the National Art Museum of China, Beijing, where he curated three editions of its international media art triennial (2008-2014). Other curatorial work includes\u0026nbsp;\u003ci\u003eKairos Resounding: Julian Charrière \u0026amp; Laurent Grasso\u003c/i\u003e (798 Cube, Beijing, 2026),\u0026nbsp;\u003cem\u003eZHANG Peili\u0026nbsp;\u003c/em\u003e(Red Brick Art Museum, Beijing, 2024–25), \u003cem\u003eTopologies of the Real\u0026nbsp;\u003c/em\u003e(Shen­zhen Museum of Contemporary Art and Urban Planning, China, 2023), \u003cem\u003eMotion Is Action: 35 Years of Chinese Media Art\u0026nbsp;\u003c/em\u003e(By Art Matters Museum, Hangzhou, China, 2023), the 6th Guangzhou Triennial (2018), and \u003cem\u003eDatumsoria: The Return of the Real\u003c/em\u003e (ZKM Center for Art and Media Karlsruhe, Germany, 2017). Zhang Ga is co-director of Media Art 21 (\u003ca href=\"https://ma21.org/\" title=\"https://ma21.org/\" data-outlook-id=\"5cadcd28-41dd-45e7-9246-4285aa441ddc\"\u003ema21.org\u003c/a\u003e) and Distinguished Professor at the Central Academy of Fine Arts, Beijing.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1044","type":"exhibition","attributes":{"id":1044,"title":"Auriea Harvey: SITE1","start_time":"2023-03-03T00:00:00.000-05:00","end_time":"2024-03-03T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"2023","url":"/exhibitions/site1","primary_text":"\u003cp class=\"large\"\u003eIn \u003cem\u003eSITE1\u003c/em\u003e, a fly-through of a three-dimensional space takes viewers on a journey into an intricate, machinic object resembling a spinning wheel, which gradually evolves into a cave-like environment.\u003c/p\u003e\u003cp class=\"large\"\u003eThe object is an abstracted star chart and computerized cosmology based on \u003cem\u003eL.O.C.K.\u003c/em\u003e, a previous work \u003ca href=\"/artists/20741\"\u003eHarvey\u003c/a\u003e created as part of the artist duo Tale of Tales. The planetary constellations evoked by the spinning wheel—Mars, Mercury, and Earth itself—function as a chart that draws viewers into a cave. Embedded in it are elements of the characters depicted in Auriea Harvey’s sculpture \u003cem\u003eOx\u003c/em\u003e, which exists in physical form and as a virtual model. Among these characters are Fauna, based on a scan of Harvey’s head, and Minoriea, a futuristic goddess that is half woman, half bull and has been the artist’s avatar in virtual worlds since 2017. The virtual world of \u003cem\u003eSITE1\u003c/em\u003e represents an archaeological dig into the “origin site” of Harvey's characters—an excavation of the universe that the artist is building from mythologies and personal stories. Just as \u003cem\u003eOx\u003c/em\u003e blends boundaries between virtual and tangible forms, \u003cem\u003eSITE1\u003c/em\u003e merges a virtual object and an environment. Viewers can navigate the work by scrolling, or hit the “enter” / “return” key for a continuous scroll.\u003c/p\u003e","primary_media_id":54784,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.46710526315789475,"created_at":"2023-02-28T10:18:22.994-05:00","updated_at":"2026-08-17T11:40:51.332-04:00","block_editor":{"data":{"id":"3637","type":"block_editor","attributes":{"id":3637,"exhibition_id":1044,"page_id":null,"created_at":"2025-06-16T12:38:16.372-04:00","updated_at":"2025-06-16T12:38:16.372-04:00","regions":[{"data":{"id":"22230","type":"region","attributes":{"id":22230,"position":1,"columns":12,"block_editor_id":3637,"created_at":"2025-02-19T09:52:05.325-05:00","updated_at":"2025-02-19T09:52:05.325-05:00","region_components":[{"data":{"id":"40522","type":"region_component","attributes":{"id":40522,"component_id":14759,"component_type":"TextComponent","position":1,"region_id":22230,"created_at":"2025-02-19T09:52:05.335-05:00","updated_at":"2025-02-19T09:52:05.345-05:00","component":{"data":{"id":"14759","type":"component","attributes":{"id":14759,"exhibition_id":1044,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAuriea Harvey\u003c/strong\u003e (b. 1971) is an artist producing simulations and sculptures that bridge physical and digital space. After plumbing the depths of net art and video games, she turned her attention to 3D modeling, printing, and mixed reality. Her work consists of sculptures that blend digital and handmade production. Harvey is half of the artist duo Entropy8Zuper! / Tale of Tales / Song of Songs, known for their pioneering works in Internet art, video games, and XR. Harvey’s work is in the permanent collections of the Walker Art Center, SFMoMA, the Lot 555 NFT collection, and Rhizome’s Net Art Anthology. Her videogames and VR works have been shown in exhibitions at venues including the Tinguely Museum, Basel; the Victoria \u0026amp; Albert Museum, London; the New Museum, New York; Brooklyn Academy of Music, New York; and ZKM, Karlsruhe. Harvey is the recipient of a Creative Capital grant and a winner of the Independent Games Festival Nuovo Award. She is represented by bitforms gallery, NYC.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"259","type":"exhibition","attributes":{"id":259,"title":"Eva and Franco Mattes: Riccardo Uncut","start_time":"2018-05-01T00:00:00.000-04:00","end_time":"2019-05-01T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"2018","url":"/exhibitions/riccardo-uncut","primary_text":"\u003cp class=\"large\"\u003eFor \u003ca href=\"/artport/commissions/riccardo-uncut\"\u003e\u003cem\u003eRiccardo Uncut\u003c/em\u003e\u003c/a\u003e, artists \u003ca href=\"/artists/19027\"\u003eEva\u003c/a\u003e and \u003ca href=\"/artists/19028\"\u003eFranco Mattes\u003c/a\u003e posted a call on social media, offering to buy someone's phone for $1,000 in order to turn the photo and video contents into an art project—an uncut and uncensored portrait of someone's life. Accessible to the public as a customized, chronological slideshow, \u003cem\u003eRiccardo Uncut\u003c/em\u003e gives viewers a unique glimpse into the personal life of Riccardo, the chosen applicant. The archive consists of approximately 3,000 images taken between 2004–2017 that include documentation of travels and vacations, friends and family, partners and sexual desire, daily life at home, office dynamics, food, art, architecture, and artistic endeavors. The accompanying song, which also appears as background music in one of Riccardo's videos, is part of the soundtrack of Rainer Werner Fassbinder's 1982 film \u003cem\u003eQuerelle\u003c/em\u003e, an adaptation of Jean Genet's 1947 novel \u003cem\u003eQuerelle de Brest\u003c/em\u003e.\u003c/p\u003e\u003cp class=\"large\"\u003eThe project was inspired by the questions, “How do we construct our digital memory?” and “Is there still such a thing as a ‘private photo?’” Social media create a perfect arena for re-creating the self as a lifestyle brand, performing a daily me, an idealized version of ourselves. With \u003cem\u003eRiccardo Uncut\u003c/em\u003e the Mattes investigate where one might find authenticity in self-representation and an unedited version of the self. The phone owner's willingness to sell the raw documentation of their personal life also astutely mirrors social media platforms’ terms of service, in which users assume all liability for the content of posted images. \u003cem\u003eRiccardo Uncut\u003c/em\u003e continues the explorations of privacy, transparency, voyeurism and exhibitionism that the Mattes pursued in their projects \u003cem\u003eLife Sharing\u003c/em\u003e (2000–2003) and \u003cem\u003eThe Others\u003c/em\u003e (2011).\u003c/p\u003e","primary_media_id":37784,"override_media_id":37787,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.6381578947368421,"created_at":"2018-04-27T16:47:44.000-04:00","updated_at":"2026-08-12T13:55:17.406-04:00","block_editor":{"data":{"id":"2403","type":"block_editor","attributes":{"id":2403,"exhibition_id":259,"page_id":null,"created_at":"2025-06-16T12:34:36.093-04:00","updated_at":"2025-06-16T12:34:36.093-04:00","regions":[{"data":{"id":"22168","type":"region","attributes":{"id":22168,"position":1,"columns":12,"block_editor_id":2403,"created_at":"2025-02-19T09:52:01.265-05:00","updated_at":"2026-02-03T16:15:42.615-05:00","region_components":[{"data":{"id":"40439","type":"region_component","attributes":{"id":40439,"component_id":14707,"component_type":"TextComponent","position":1,"region_id":22168,"created_at":"2025-02-19T09:52:01.274-05:00","updated_at":"2026-02-03T16:15:42.624-05:00","component":{"data":{"id":"14707","type":"component","attributes":{"id":14707,"exhibition_id":259,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eEva and Franco Mattes\u003c/strong\u003e (b. 1976, Italy) live and work in New York. Their work has been shown at the Museum of Contemporary Art, Chicago, USA; Mori Art Museum, Tokyo, Japan; the 20th Biennale of Sydney, Sydney, Australia; Electronic Superhighway and Artists’ Film International, Whitechapel Gallery, London, England; Big Bang Data, Somerset House, London, England; Royal Museums of Fine Arts of Belgium, Brussels, Belgium; Performa, New York, USA; MoMA PS1, New York, USA; New Museum, New York, USA; NTT ICC Museum, Tokyo, Japan; Manifesta, Frankfurt, Germany; and the Venice Biennale, Venice, Italy.\u003c/p\u003e"}}}}}}]}}}]}}}}}],"meta":{"total":1623},"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"}}