{"data":[{"id":"1627","type":"exhibition","attributes":{"id":1627,"title":"The Architecture of Frank Gehry","start_time":"1988-07-14T00:00:00.000-04:00","end_time":"1988-10-02T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/the-architecture-of-frank-gehry","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eThe Architecture of Frank Gehry\u003c/em\u003e was organized by the Walker Art Center, Minneapolis.\u003c/p\u003e","primary_media_id":null,"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":null,"audio_description":null,"videos_description":null,"created_at":"2025-01-17T14:18:15.161-05:00","updated_at":"2026-01-06T13:18:17.992-05:00","block_editor":{"data":{"id":"4639","type":"block_editor","attributes":{"id":4639,"exhibition_id":1627,"page_id":null,"created_at":"2025-06-16T12:38:32.247-04:00","updated_at":"2025-06-16T12:38:32.247-04:00","regions":[]}}}}},{"id":"1726","type":"exhibition","attributes":{"id":1726,"title":"Print Acquisitions 1974-1984","start_time":"1984-08-29T00:00:00.000-04:00","end_time":"1984-11-25T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/print-acquisitions-1974-1984","primary_text":null,"primary_media_id":null,"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":null,"audio_description":null,"videos_description":null,"created_at":"2025-01-17T14:18:26.164-05:00","updated_at":"2026-01-06T13:18:08.994-05:00","block_editor":{"data":{"id":"4833","type":"block_editor","attributes":{"id":4833,"exhibition_id":1726,"page_id":null,"created_at":"2025-06-16T12:38:33.455-04:00","updated_at":"2025-06-16T12:38:33.455-04:00","regions":[]}}}}},{"id":"261","type":"exhibition","attributes":{"id":261,"title":"The Face in the Moon: Drawings and Prints by Louise Nevelson","start_time":"2018-07-20T00:00:00.000-04:00","end_time":"2018-10-08T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/louise-nevelson-drawings-prints","primary_text":"\u003cp class=\"large\"\u003eLouise Nevelson (1899–1988), an artist best known for her monochromatic wooden sculptures, produced a distinctive body of works on paper over the course of her long career. Drawn entirely from the Whitney’s collection, this exhibition follows her work in drawing, printing, and collage, from her early focus on the human body through her progression into abstraction.\u003c/p\u003e\u003cp class=\"large\"\u003eNevelson frequently used unconventional or recycled materials. In her prints, she layered scraps of fabric to create deeply textured environments containing mystical figures and architectural forms. Her paper collages, like her sculptures assembled from wooden objects, reconfigure the disparate materials from which they are composed, including scraps of paper and foil, into unified, unexpected compositions. Interested in the physical constraints of objects, Nevelson sought to transform the materials that she used and the subjects that she depicted. She believed that art could reorient one’s relationship to the built and natural world, challenging us to see our environments differently through her work.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eThe Face in the Moon: Drawings and Prints by Louise Nevelson\u003c/em\u003e is organized by Clémence White, curatorial assistant.\u003c/p\u003e","primary_media_id":37824,"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":"\u003cp\u003e“Now that intervening decades have cooled off that white-hot zenith, \u003cem\u003eThe Face in the Moon: Drawings and Prints by Louise Nevelson\u003c/em\u003e at the Whitney Museum, like last spring’s exhibition of her relief sculpture at Pace Gallery, speaks to her considerable craftsmanship, as well as the range of her imagination and her risk-taking.”\u003cbr\u003e—\u003ca href=\"https://hyperallergic.com/463712/the-face-in-the-moon-drawings-and-prints-by-louise-nevelson-whitney-museum-of-american-art/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eHyperallergic\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":null,"videos_description":null,"created_at":"2018-05-08T17:56:02.000-04:00","updated_at":"2025-06-16T12:34:36.130-04:00","block_editor":{"data":{"id":"2405","type":"block_editor","attributes":{"id":2405,"exhibition_id":261,"page_id":null,"created_at":"2025-06-16T12:34:36.122-04:00","updated_at":"2025-06-16T12:34:36.122-04:00","regions":[]}}}}},{"id":"2033","type":"exhibition","attributes":{"id":2033,"title":"American Drawings 1963-1973","start_time":"1973-05-25T00:00:00.000-04:00","end_time":"1973-07-22T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/american-drawings-1963-1973","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eAmerican Drawings 1963-1973\u003c/em\u003e was curated by Elke Solomon.\u003c/p\u003e","primary_media_id":null,"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":null,"audio_description":null,"videos_description":null,"created_at":"2025-01-17T14:18:56.171-05:00","updated_at":"2026-01-06T13:17:21.693-05:00","block_editor":{"data":{"id":"5437","type":"block_editor","attributes":{"id":5437,"exhibition_id":2033,"page_id":null,"created_at":"2025-06-16T12:38:37.236-04:00","updated_at":"2025-06-16T12:38:37.236-04:00","regions":[]}}}}},{"id":"1251","type":"exhibition","attributes":{"id":1251,"title":"Hyundai Terrace Commission: Torkwase Dyson","start_time":"2024-09-25T00:00:00.000-04:00","end_time":"2025-02-02T00:00:00.000-05:00","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/torkwase-dyson","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eLiquid Shadows, Solid Dreams (A Monastic Playground)\u003c/em\u003e\u003c/p\u003e\u003cp class=\"large\"\u003eTorkwase Dyson's \u003cem\u003eLiquid Shadows, Solid Dreams (A Monastic Playground)\u003c/em\u003e was part of the \u003ca href=\"/exhibitions/2024-biennial\"\u003e\u003cem\u003eWhitney Biennial 2024: Even Better Than the Real Thing\u003c/em\u003e\u003c/a\u003e and is presented again on the Whitney's Floor 5 terrace from September 25, 2024–February 2, 2025. The artwork is the inaugural Hyundai Terrace Commission.\u003c/p\u003e\u003cp class=\"large\"\u003eDescribed by Torkwase Dyson as a “monastic playground,” this installation is meant to be activated by visitors, who are invited to touch, sit on, and experience the work in a tactile way. This prompt speaks to Dyson's conviction that liberation can be found at every register of movement: “freedom is an ongoing spatial question of motion and imagination.” Dyson composes geometries on an architectural scale using light and space as formal building blocks. Together, the monumental arcs, implied gestures, and surrounding natural light articulate changing abstract shapes over the course of each day and night.\u003c/p\u003e\u003cp class=\"large\"\u003eFor Dyson, the intertwining of abstraction and Blackness is a central philosophical concern that came out of an interest in public infrastructure. The relationships between ecology, belonging, and personal history take on new meaning with the terrace’s view of the Hudson River and Museum’s location in one of New York City’s most vulnerable flood zones.\u0026nbsp;\u003c/p\u003e\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cem\u003eHyundai Terrace Commission: Torkwase Dyson: Liquid Shadows, Solid Dreams (A Monastic Playground) \u003c/em\u003eis part of a multiyear partnership with Hyundai Motor in support of an annual site-specific installation on the Whitney Museum's fifth-floor outdoor gallery.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/829970/large_Untitled-1.jpg\" style=\" height: 80px;\"\u003e\u003c/p\u003e","primary_media_id":58423,"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":"","created_at":"2024-01-29T12:40:59.534-05:00","updated_at":"2025-06-16T12:38:23.844-04:00","block_editor":{"data":{"id":"3983","type":"block_editor","attributes":{"id":3983,"exhibition_id":1251,"page_id":null,"created_at":"2025-06-16T12:38:23.839-04:00","updated_at":"2025-06-16T12:38:23.839-04:00","regions":[]}}}}},{"id":"1265","type":"exhibition","attributes":{"id":1265,"title":"Village Art Center Retrospective of Prizewinners","start_time":"1954-06-02T00:00:00.000-04:00","end_time":"1954-06-15T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/village-art-center-prizewinners","primary_text":null,"primary_media_id":null,"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":"","created_at":"2024-02-27T16:59:27.871-05:00","updated_at":"2025-06-16T12:38:24.085-04:00","block_editor":{"data":{"id":"4005","type":"block_editor","attributes":{"id":4005,"exhibition_id":1265,"page_id":null,"created_at":"2025-06-16T12:38:24.080-04:00","updated_at":"2025-06-16T12:38:24.080-04:00","regions":[]}}}}},{"id":"2356","type":"exhibition","attributes":{"id":2356,"title":"Texture: A Photographic Vision","start_time":"1975-07-16T00:00:00.000-04:00","end_time":"1975-08-27T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/texture","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eTexture: A Photographic Vision\u003c/em\u003e was organized by the Whitney Museum of American Art Independent Study Program.\u003c/p\u003e","primary_media_id":null,"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":null,"audio_description":null,"videos_description":null,"created_at":"2026-01-06T13:17:32.290-05:00","updated_at":"2026-01-06T13:17:32.290-05:00","block_editor":{"data":null}}},{"id":"872","type":"exhibition","attributes":{"id":872,"title":"Jacob Lawrence","start_time":"1974-05-16T00:00:00.000-04:00","end_time":"1975-03-27T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/jacob-lawrence","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eJacob Lawrence\u003c/em\u003e was curated by Milton W. Brown.\u003c/p\u003e","primary_media_id":null,"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":"","created_at":"2020-08-14T14:51:26.660-04:00","updated_at":"2026-01-06T14:21:44.401-05:00","block_editor":{"data":{"id":"3477","type":"block_editor","attributes":{"id":3477,"exhibition_id":872,"page_id":null,"created_at":"2025-06-16T12:38:12.216-04:00","updated_at":"2025-06-16T12:38:12.216-04:00","regions":[]}}}}},{"id":"906","type":"exhibition","attributes":{"id":906,"title":"Paintings by David G. Blythe 1815–1865","start_time":"1936-04-07T00:00:00.000-05:00","end_time":"1936-05-07T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/david-g-blythe","primary_text":null,"primary_media_id":null,"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":"","created_at":"2020-08-14T14:51:35.657-04:00","updated_at":"2025-06-16T12:38:12.792-04:00","block_editor":{"data":{"id":"3541","type":"block_editor","attributes":{"id":3541,"exhibition_id":906,"page_id":null,"created_at":"2025-06-16T12:38:12.787-04:00","updated_at":"2025-06-16T12:38:12.787-04:00","regions":[]}}}}},{"id":"898","type":"exhibition","attributes":{"id":898,"title":"Lee Gatch","start_time":"1960-02-03T00:00:00.000-05:00","end_time":"1960-03-13T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/lee-gatch","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eLee Gatch\u003c/em\u003e was organized by the American Federation of Arts, New York, and the Museum of Fine Arts, Boston.\u003c/p\u003e","primary_media_id":24886,"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":"","created_at":"2020-08-14T14:51:33.615-04:00","updated_at":"2025-06-16T12:38:12.674-04:00","block_editor":{"data":{"id":"3527","type":"block_editor","attributes":{"id":3527,"exhibition_id":898,"page_id":null,"created_at":"2025-06-16T12:38:12.668-04:00","updated_at":"2025-06-16T12:38:12.668-04:00","regions":[]}}}}},{"id":"43","type":"exhibition","attributes":{"id":43,"title":"Profiling","start_time":"2007-06-08T00:00:00.000-04:00","end_time":"2007-09-09T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/profiling","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eProfiling\u0026nbsp;\u003c/em\u003efeatures two artworks that present a dialogue on issues surrounding surveillance, protection, privacy, and identity by exploring the use of automated systems for tracking and \"profling\" people in public spaces.\u003c/p\u003e\u003cp class=\"large\"\u003eThe connection between surveillance and entertainment is at the core of\u0026nbsp;\u003cem\u003eSVEN--Surveillance Video Entertainment Network\u003c/em\u003e by artists Amy Alexander, Jesse Gilbert, Wojciech Kosma, Vincent Rabaud, and Nikhil Rasiwasia.\u0026nbsp;\u003cem\u003eSVEN\u0026nbsp;\u003c/em\u003euses a computer application to track visitors' movements through space and to analyze their \"rock star potential.\" A video-processing application uses the live camera feed to generate music video-like visuals.\u003c/p\u003e\u003cp class=\"large\"\u003eIn David Rokeby's surveillance installation\u0026nbsp;\u003cem\u003eTaken\u003c/em\u003e, two side-by-side projections provide different readings of the activities in the gallery space. A continuously accumulating history of the movements of people in the gallery is juxtaposed with a \"catalogue\" of gallery visitors' headshots that have classifying adjectives, such as \"unsuspecting\" or \"hungry,\" randomly attached to them. The projects brought together in \u003cem\u003eProfiling\u0026nbsp;\u003c/em\u003eexpose the absurdities and subvert the effects of surveillance technologies.\u003c/p\u003e","primary_media_id":3114,"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":"\u003cp\u003e\"The Fishko Files: Surveillance\"\u003c/p\u003e\u003cp\u003e– \u003ca href=\"http://www.wnyc.org/shows/fishko/episodes/2007/06/22\"\u003eWNYC\u003c/a\u003e\u003c/p\u003e","audio_description":null,"videos_description":null,"created_at":"2017-04-03T12:46:29.000-04:00","updated_at":"2025-06-16T12:34:03.772-04:00","block_editor":{"data":{"id":"2089","type":"block_editor","attributes":{"id":2089,"exhibition_id":43,"page_id":null,"created_at":"2025-06-16T12:34:03.766-04:00","updated_at":"2025-06-16T12:34:03.766-04:00","regions":[]}}}}},{"id":"152","type":"exhibition","attributes":{"id":152,"title":"Frank Stella: A\u0026nbsp;Retrospective","start_time":"2015-10-30T00:00:00.000-04:00","end_time":"2016-02-07T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/frank-stella","primary_text":"\u003cp class=\"large\"\u003eFrank Stella (b. 1936) is one of the most important living American artists. This retrospective is the most comprehensive presentation of Stella’s career to date, showcasing his prolific output from the mid-1950s to the present through approximately 100 works, including paintings, reliefs, maquettes, sculptures, and drawings. Co-organized by the Modern Art Museum of Fort Worth and the Whitney, this exhibition features Stella’s best-known works alongside rarely seen examples drawn from collections around the world. Accompanied by a scholarly publication, the exhibition fills the Whitney's entire fifth floor, an 18,000-square-foot gallery that is the Museum’s largest space for temporary exhibitions.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eFrank Stella: A Retrospective\u003c/em\u003e is organized by Michael Auping, chief curator, Modern Art Museum of Fort Worth, in association with Adam D. Weinberg, Alice Pratt Brown Director, Whitney Museum of American Art, New York, and with the assistance of Carrie Springer, assistant curator, Whitney Museum of American Art, New York.\u003c/p\u003e\u003cp\u003e\u003cem\u003eFrank Stella: A Retrospective\u003c/em\u003e\u0026nbsp;is jointly organized by the Whitney Museum of American Art, New York, and the Modern Art\u0026nbsp;Museum\u0026nbsp;of\u0026nbsp;Fort Worth.\u003c/p\u003e\u003cp\u003eIn New York, the exhibition is sponsored by\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://www.morganstanley.com/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818157/morganstanley-175w.jpg\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eSignificant support is provided by\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://www.pamellaroland.com/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818162/pamellaroland-130w.jpg\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://www.sothebys.com/en.html\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818128/official_logo_sothebys_forweb.jpg\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eMajor support is provided by The Brown Foundation, Inc., of Houston; Steven \u0026amp; Alexandra Cohen Foundation; Julia W. Dayton; Pamella and Daniel DeVos; Katherine Farley and Jerry Speyer; the Fisher Family; The Marc Haas Foundation, Inc.; the Henry Luce Foundation; Robert E. Meyerhoff and Rheda Becker; the National Committee of the Whitney Museum of American Art; and an anonymous donor.\u003c/p\u003e\u003cp\u003eGenerous support is provided by The Broad Art Foundation, Peter and Betsy Currie, Theodor and Isabella Dalenson, Marcia Dunn and Jonathan Sobel, Louis G. Elson, Ann and Graham Gund, Marguerite Steed Hoffman, Barbara and Tom Israel, Martin Z. Margulies, Scott Mead, Kenneth \u0026amp; Marabeth Tyler, Melissa Vail and Norman Selby, the Bagley and Virginia Wright Foundation, and public funds from the New York City Department of Cultural Affairs in partnership with the City Council.\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://www.nyc.gov/html/dcla/html/home/home.shtml\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818163/nyculture_logo_100.jpg\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eAdditional support is provided by Irma and Norman Braman; Audrey and David Mirvish; the National Endowment for the Arts; Emily Rauh Pulitzer; Paul J. Schupf Lifetime Trust, Gregory O. Koerner Trustee; and anonymous donors.\u003c/p\u003e\u003cp\u003eSignificant endowment support is also provided by Lise and Michael Evans, Sueyun and Gene Locks, and the Jon and Mary Shirley Foundation.\u003c/p\u003e\u003cp\u003eThe installation of \u003cem\u003eWooden Star I\u003c/em\u003e\u0026nbsp;(2014) and \u003cem\u003eBlack Star\u003c/em\u003e\u0026nbsp;(2014) on the fifth-floor outdoor gallery is made possible by Marianne Boesky Gallery and Dominique Lévy Gallery.\u003c/p\u003e","primary_media_id":8314,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":286,"installation_series_id":287,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“Frank Stella is back. His grand, high-spirited, slightly overstuffed retrospective has taken over the fifth and largest exhibition floor of the new Whitney Museum of American Art, where it looks great. ”\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nytimes.com/2015/10/30/arts/design/tracking-frank-stellas-restless-migrations-from-painting-and-beyond.html?_r=0\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003e\"\u003c/em\u003eEverything You Ever Wanted to Know About Abstraction: Frank Stella Stuns at the Whitney\"\u003cbr\u003e\u003cem\u003e—\u003c/em\u003e\u003ca href=\"http://www.artnews.com/2015/11/02/everything-you-ever-wanted-to-know-about-abstraction-frank-stella-stuns-at-the-whitney/\" target=\"_blank\"\u003e\u003cem\u003eArtnews\u003c/em\u003e\u003c/a\u003e\u003cbr\u003e\u003cbr\u003e\"Frank Stella at the Whitney—from Impassive Abstraction to Riotous Baroque\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.theguardian.com/artanddesign/2015/oct/29/frank-stella-retrospective-whitney-museum-new-york\"\u003eThe Guardian\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"The Wide, Wacky World of Frank Stella's Titles\"\u003cbr\u003e\u003cem\u003e—\u003ca href=\"http://www.wsj.com/articles/the-wide-wacky-world-of-frank-stellas-titles-1446071049\"\u003eThe Wall Street Journal\u003c/a\u003e\u003cbr\u003e\u003c/em\u003e\u003cbr\u003e\"Interstellar: Whitney Musuem toasts Frank Stella with a Retrospective\"\u003cbr\u003e\u003cem\u003e—\u003ca href=\"http://www.wallpaper.com/art/interstellar-a-retrospective-of-frank-stellas-iconic-works-opens-at-the-whitney-in-new-york\"\u003eWallpaper\u003c/a\u003e\u003cbr\u003e\u003c/em\u003e\u003cbr\u003e\"Frank Stella looks back on fifty-five years of making art\"\u003cbr\u003e\u003cem\u003e—\u003ca href=\"http://www.timeout.com/newyork/art/frank-stella-looks-back-on-55-years-of-making-art\"\u003eTime Out New York\u003c/a\u003e\u003c/em\u003e\u003cbr\u003e\u003cbr\u003e\"Mr. Stella has done more than any other living artist to carry abstract art, the house style of modernism, into the postmodern era.\"\u003cbr\u003e\u003cem\u003e—\u003ca href=\"http://www.nytimes.com/2015/09/13/arts/design/the-whitney-taps-frank-stella-for-an-inaugural-retrospective-at-its-new-home.html?_r=1\"\u003eThe New York Times\u003c/a\u003e\u003cbr\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Towards a Unified Theory of Frank Stella\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.vulture.com/2015/10/toward-a-unified-theory-of-frank-stella.html\"\u003eNew York Magazine\u003c/a\u003e\u003cbr\u003e\u003c/em\u003e\u003cbr\u003e\"American Master: Frank Stella\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.departures.com/art-culture/american-master-frank-stella-ahead-of-whitney-retrospective\"\u003eDepartures Magazine\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"No artist of his generation has been remotely as productive and creative as Frank Stella.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://artforum.com/archive/id=54599\"\u003eArtforum\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"One of the most important living U.S. artists\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.wsj.com/articles/fall-arts-whats-ahead-1442269899\"\u003eThe Wall Street Journal\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Frank Stella Gets Candid About His Long Career\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.blouinartinfo.com/news/story/1249827/qa-frank-stella-gets-candid-about-his-long-career\"\u003eArtinfo\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"A champion of pure abstraction...[Frank Stella] is a survivor from a bygone era when artists conceived their mission as a heroic and hermetic pursuit.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.economist.com/news/books-and-arts/21677607-if-you-think-frank-stellas-work-out-date-think-again-modern-man\" target=\"_blank\"\u003eThe Economist\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e","audio_description":null,"videos_description":null,"created_at":"2017-04-03T12:47:31.000-04:00","updated_at":"2025-06-16T12:34:24.562-04:00","block_editor":{"data":{"id":"2271","type":"block_editor","attributes":{"id":2271,"exhibition_id":152,"page_id":null,"created_at":"2025-06-16T12:34:24.557-04:00","updated_at":"2025-06-16T12:34:24.557-04:00","regions":[]}}}}},{"id":"352","type":"exhibition","attributes":{"id":352,"title":"1954 Annual Exhibition of Contemporary American Sculpture, Watercolors and Drawings","start_time":"1954-03-17T00:00:00.000-05:00","end_time":"1954-04-18T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/annual-1954","primary_text":null,"primary_media_id":41614,"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":"\u003cp\u003e“If as yet much of the work seems incomplete, unclear, revolutionary (as with much of the extreme abstract painting) the sculpture of our time seems to denote a period of transition; and this the 1954 exhibition at the Whitney certainly bears out.” —\u003ca href=\"https://www.nytimes.com/1954/03/21/archives/transition-sculpture-whitney-annual-reveals-new-tendencies.html?smid=url-share\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“In all three fields—more in water-colors and drawings than in sculpture—the modern tendency toward mixed media is evident. It has become something of a puzzle, in fact, as to which field pieces should be assigned . . .” —\u003ca href=\"https://www.nytimes.com/1954/03/17/archives/whitney-museum-opens-its-annual-contemporary-american-art-display.html?smid=url-share\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":null,"videos_description":null,"created_at":"2019-03-05T19:04:58.874-05:00","updated_at":"2025-06-16T12:35:41.559-04:00","block_editor":{"data":{"id":"2553","type":"block_editor","attributes":{"id":2553,"exhibition_id":352,"page_id":null,"created_at":"2025-06-16T12:35:41.553-04:00","updated_at":"2025-06-16T12:35:41.553-04:00","regions":[]}}}}},{"id":"422","type":"exhibition","attributes":{"id":422,"title":"Cauleen Smith: Mutualities","start_time":"2020-02-17T00:00:00.000-05:00","end_time":"2021-01-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/cauleen-smith","primary_text":"\u003cp class=\"large\"\u003eCauleen Smith (b. 1967) draws on experimental film, non-Western cosmologies, poetry, and science fiction to create works that reflect on memory and Afro-diasporic histories. \u003cem\u003eMutualities\u003c/em\u003e, the artist’s first solo show in New York, presents two of Smith’s films, \u003cem\u003eSojourner\u003c/em\u003e and \u003cem\u003ePilgrim\u003c/em\u003e—each in a newly created installation environment—along with a new group of drawings collectively titled \u003cem\u003eFirespitters\u003c/em\u003e.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eThe films unfold across several important sites in Black spiritual and cultural history, weaving together writings by women from different eras, including Shaker visionary Rebecca Cox Jackson, abolitionist Sojourner Truth, the 1970s Black feminist organization Combahee River Collective, and experimental jazz composer and spiritual leader Alice Coltrane, whose music also forms the soundtrack for both films. Smith’s poetic use of the camera and light draws the viewer into a welcoming and accepting space that reveals the many ways in which invention and generosity can be resources for transformation and regeneration.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eCauleen Smith: Mutualities\u003c/em\u003e is organized by Chrissie Iles, Anne \u0026amp; Joel Ehrenkranz Curator, with Clemence White, senior curatorial assistant.\u003c/p\u003e\u003cp\u003e\u003cem\u003eCauleen Smith: Mutualities\u003c/em\u003e is part of the Whitney’s emerging artists program, sponsored by\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://shop.nordstrom.com/\" rel=\"noopener noreferrer\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/823775/NORDSTROM_2019_BLACK_cmyk__2_.jpg\" style=\"height:20px;\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eGenerous support is provided by The Rosenkranz Foundation.\u003c/p\u003e\u003cp\u003eAdditional support is provided by the Artists Council.\u003c/p\u003e","primary_media_id":46196,"override_media_id":null,"sign_media_id":null,"feature_id":33,"artwork_series_id":null,"installation_series_id":2309,"perspective_series_id":null,"press_highlights":"\u003cp\u003e\"[A] visual feat\" —\u003ca href=\"https://www.theartnewspaper.com/review/three-exhibitions-to-see-in-new-york-this-weekend-27-february\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe Art Newspaper\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Smith merges utopian futurism with wistful revision.\" —\u003ca href=\"https://www.newyorker.com/goings-on-about-town/art/cauleen-smith-mutualities\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New Yorker\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"In many ways Cauleen Smith is the dynamic, conceptual artist one would expect. Beyond expectations, however, is her bold—and especially collaborative—creative voice.\" —\u003ca href=\"https://www.crfashionbook.com/celebrity/a30930443/cauleen-smith-mutualities-whitney-museum/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eCR Fashion Book\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"","videos_description":"","created_at":"2019-11-01T10:27:01.066-04:00","updated_at":"2025-06-16T12:37:26.235-04:00","block_editor":{"data":{"id":"2645","type":"block_editor","attributes":{"id":2645,"exhibition_id":422,"page_id":null,"created_at":"2025-06-16T12:37:26.230-04:00","updated_at":"2025-06-16T12:37:26.230-04:00","regions":[]}}}}},{"id":"930","type":"exhibition","attributes":{"id":930,"title":"Andrea Carlson:\u003cbr\u003eRed Exit","start_time":"2021-01-25T00:00:00.000-05:00","end_time":"2021-09-19T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"Jan 25–Sept 19, 2021","url":"/exhibitions/andrea-carlson","primary_text":"\u003cp class=\"large\"\u003eIn her new work, \u003cem\u003eRed Exit\u003c/em\u003e, Andrea Carlson (b. 1979) presents a panoramic seascape informed by ideas of re-creation and renewal. Vibrant, prismatic motifs—some drawn from the land of the artist’s ancestral home, and others from effigies, petroglyphs, and navigational signs—pulsate and collide across a series of horizons. The composition is anchored by a loon, known in the Ojibwe re-creation narrative as an Earth-Diver, who alongside other surviving animals, helps remake the world. Carlson also incorporates the infinity sign from the flag of the Métis People and the silhouetted figure of “Man Mound,” a destroyed earthwork—fractured by a road—that appears here to rise up from the land. Through her images, which take shape as a continuous wake pattern, she invokes moments of resistance and empowerment. Symbols of Native advocacy come together in a gesture of reclamation, creating new narratives of Indigenous experience in North America. While \u003cem\u003eRed Exit\u003c/em\u003e confronts the ongoing erasure of Indigenous cultures, it is, in the artist's words, a celebration of “the place we (Native People) reserve for ourselves . . . places of joy amidst removal, exclusion, and attempted assimilation.”\u003c/p\u003e\u003cp class=\"large\"\u003eAlongside prints and multidisciplinary projects, Carlson primarily makes large-scale, multi-part works on paper through a combination of drawing and painting. Highly intricate and graphic, these compositions coalesce into expansive, disorienting scenes that often evoke futuristic and, at times, apocalyptic worlds.\u003c/p\u003e\u003cp class=\"large\"\u003eOrganized by the Whitney in partnership with TF Cornerstone and High Line Art, \u003cem\u003eRed Exit\u003c/em\u003e is the next work in a series of public art installations that has featured works by key American artists, including Njideka Akunyili Crosby (2015–16), Do Ho Suh (2017–18), Christine Sun Kim (2018), and Derek Fordjour (2018–19).\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eAndrea Carlson: Red Exit\u003c/em\u003e is organized by Melinda Lang, Senior Curatorial Assistant.\u003c/p\u003e\u003cp\u003e\u003cem\u003eAndrea Carlson: Red Exit\u003c/em\u003e is part of Outside the Box programming, which is supported by a generous endowment from the Jacques and Natasha Gelman Foundation.\u003c/p\u003e\u003cp\u003eAdditional support is provided by the Artists Council.\u0026nbsp;\u003c/p\u003e","primary_media_id":48828,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2448,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2021-01-11T19:06:35.624-05:00","updated_at":"2025-06-16T12:38:13.085-04:00","block_editor":{"data":{"id":"3571","type":"block_editor","attributes":{"id":3571,"exhibition_id":930,"page_id":null,"created_at":"2025-06-16T12:38:13.080-04:00","updated_at":"2025-06-16T12:38:13.080-04:00","regions":[]}}}}},{"id":"1111","type":"exhibition","attributes":{"id":1111,"title":"Mark Napier: Four","start_time":"2004-02-01T00:00:00.000-05:00","end_time":"2004-02-29T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"February 2004","url":"/exhibitions/mark-napier","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8203\"\u003eMark Napier\u003c/a\u003e’s Gate Page presents four works from the artist’s series of studies using a physics simulator to generate movement of visual forms. In each piece, the shapes attract and repel one another by simulating gravitational forces, springs, masses, momentum, and friction. In the first piece, the movement shifts based on user input. The remaining three studies rely on gravitational and spring forces to create systems that continually aim for stability, resulting in continuous motion. By drawing a parallel between the brushstroke in painting and the algorithm in software art, Napier highlights an essential characteristic of the digital medium: the algorithm as a set of instructions that describes and at the same time is a record of potential actions. Encoded in the work is the potential for orbiting, bouncing, rotation, and fast and slow motion, playing out as action over time.\u003c/p\u003e","primary_media_id":56563,"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":"","created_at":"2023-09-25T21:53:03.253-04:00","updated_at":"2026-04-14T11:54:19.308-04:00","block_editor":{"data":{"id":"3729","type":"block_editor","attributes":{"id":3729,"exhibition_id":1111,"page_id":null,"created_at":"2025-06-16T12:38:20.539-04:00","updated_at":"2025-06-16T12:38:20.539-04:00","regions":[{"data":{"id":"23816","type":"region","attributes":{"id":23816,"position":1,"columns":12,"block_editor_id":3729,"created_at":"2026-02-23T16:20:58.179-05:00","updated_at":"2026-04-14T11:54:19.145-04:00","region_components":[{"data":{"id":"43812","type":"region_component","attributes":{"id":43812,"component_id":15734,"component_type":"TextComponent","position":1,"region_id":23816,"created_at":"2026-02-23T16:20:58.195-05:00","updated_at":"2026-04-14T11:54:19.187-04:00","component":{"data":{"id":"15734","type":"component","attributes":{"id":15734,"exhibition_id":1111,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eMark Napier\u003c/strong\u003e (b. 1961; Springfield, New Jersey), began creating artwork exclusively for the web in 1995. 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 \u003cem\u003eBots\u003c/em\u003e (2000), a tool for building unique pop-culture icons from parts. Napier has created commissioned projects for the Guggenheim Museum, New York (2002); the exhibition \u003cem\u003e010101\u003c/em\u003e (2001) at the San Francisco Museum of Modern Art; and \u003ca href=\"/exhibitions/data-dynamics\"\u003e\u003cem\u003eData Dynamics\u003c/em\u003e\u003c/a\u003e (2001) at the Whitney Museum of American Art, New York. His browser \u003cem\u003eRiot\u003c/em\u003e was included in the \u003ca href=\"/exhibitions/biennial-2002\"\u003e2002 Whitney Biennial\u003c/a\u003e. He has also shown his work at ZKM Center for Art and Media Karlsruhe, Germany, and the Walker Art Center, Minneapolis, and received an honorable mention from Prix Ars Electronica (1999).\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"125","type":"exhibition","attributes":{"id":125,"title":"Robert Irwin: Scrim veil—Black rectangle—Natural light, Whitney Museum of American Art, New York (1977)","start_time":"2013-06-27T00:00:00.000-04:00","end_time":"2013-09-01T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/robert-irwin","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eScrim veil—Black rectangle—Natural light, Whitney Museum of American Art, New York\u003c/em\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003e(1977), by California Light and Space artist Robert Irwin, is a large-scale installation that uniquely engages the Whitney’s iconic Breuer building and the natural light that emanates from the large window in the fourth floor gallery space. Part of the Whitney’s collection, the work was made specifically for the Museum’s fourth floor. It has not been exhibited since its 1977 debut, a pivotal moment that would set the course for Irwin’s subsequent artistic practice.\u003c/p\u003e\u003cp class=\"large\"\u003eThe presentation will be accompanied by a digitized version of the original Robert Irwin catalogue, published by the Whitney at the time of his 1977 exhibition, which includes an ambitious combination of images, project plans, and theoretical texts written by Irwin himself as well as biographical and exhibition information compiled by the exhibition’s curator, Richard Marshall. The catalogue will be updated with a new introduction by Whitney Chief Curator Donna De Salvo and will be available for viewing exclusively at whitney.org.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eRobert Irwin: Scrim veil—Black rectangle—Natural light, Whitney Museum of American Art, New York (1977)\u003c/em\u003e is organized by Donna De Salvo, Chief Curator and Deputy Director for Programs.\u003c/p\u003e","primary_media_id":6132,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":267,"installation_series_id":266,"perspective_series_id":null,"press_highlights":"\u003cp\u003e\"The combined effect of the elements was not only gorgeous, but astonishing.\"\u003cbr\u003e—\u003ca href=\"http://www.npr.org/blogs/13.7/2013/08/30/217179936/there-s-nothing-to-do-here-and-it-s-perfect\" target=\"_blank\"\u003eNPR\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Its absolute spareness, its matter-of-factness, shocks.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://galleristny.com/2013/08/robert-irwin-scrim-veil-black-rectangle-natural-light-at-whitney-museum-of-american-art/\" target=\"_blank\"\u003eGallerist\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Though pitched at epic scale, Irwin’s intervention achieves an exquisite sort of understatement, its existence a plea for us to pause, linger, and actively look.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://artforum.com/archive/id=42651\" target=\"_blank\"\u003eArtforum\u003c/a\u003e\u003c/em\u003e (subscription required)\u003c/p\u003e\u003cp\u003e\"\u003cem\u003eScrim veil\u003c/em\u003e is a perceptual and conceptual work of art that is infinitely greater than the sum of its parts.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.timeout.com/newyork/art/robert-irwin-scrim-veilblack-rectanglenatural-light-whitney-museum-of-american-art-new-york-1977\" target=\"_blank\"\u003eTime Out\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"The work is transcendental.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://hyperallergic.com/80949/a-slice-of-space-history-and-time-at-the-whitney-museum/\" target=\"_blank\"\u003eHyperallergic\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Ineffable Emptiness, From Dawn to Dusk: Robert Irwin’s Light-and-Space Work Returns to the Whitney\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nytimes.com/2013/07/26/arts/design/robert-irwins-light-and-space-work-returns-to-the-whitney.html?ref=arts\u0026_r=0\" target=\"_blank\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Back at the Whitney, Tinkering With Perception\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nytimes.com/2013/06/17/arts/design/robert-irwin-work-tinkers-again-with-perception-at-whitney.html?pagewanted=all\" target=\"_blank\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Visitors seemed compelled to stay hushed in the room, even though there was no special reason for silence.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.thedailybeast.com/articles/2013/07/22/robert-irwin-at-the-whitney-is-the-daily-pic-by-blake-gopnik.html\" target=\"_blank\"\u003eThe Daily Beast\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e","audio_description":"","videos_description":"","created_at":"2017-04-03T12:47:15.000-04:00","updated_at":"2025-11-17T13:23:12.552-05:00","block_editor":{"data":{"id":"2235","type":"block_editor","attributes":{"id":2235,"exhibition_id":125,"page_id":null,"created_at":"2025-06-16T12:34:17.321-04:00","updated_at":"2025-06-16T12:34:17.321-04:00","regions":[]}}}}},{"id":"1127","type":"exhibition","attributes":{"id":1127,"title":"Erik Loyer: Living and Active","start_time":"2005-05-01T00:00:00.000-04:00","end_time":"2005-05-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"May 2005","url":"/exhibitions/erik-loyer","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/9999\"\u003eErik Loyer\u003c/a\u003e’s Gate Page \u003cem\u003eLiving and Active\u0026nbsp;\u003c/em\u003eprovided a portal to his award-winning project \u003cem\u003eThe Lair of the Marrow Monkey\u0026nbsp;\u003c/em\u003e(1998), a dynamic, abstract interface that allowed users to play with text to construct poetic narratives and reflections on memory. The Gate Page consists of an array of letters that jump around in a rectangular frame and, accompanied by sounds, assemble themselves in response to the viewer’s cursor. While the letters never fall neatly into a linear line of text, they are still recognizable as the biblical phrase \"For the word of God is living and active\" (Hebrews 4:12). Loyer’s Gate Page makes the meaning of the quote palpable, treating letters and words not as static signs but a dynamic, living, and active force that shapes lives.\u003c/p\u003e\u003cp\u003eThis project links to \u003cem\u003emarrowmonkey.com\u003c/em\u003e which is no longer online. It is partially accessible on the \u003ca href=\"https://web.archive.org/web/20050406172532/http://marrowmonkey.com/menu.html\"\u003eInternet Archive\u003c/a\u003e, though it relies Shockwave .dcr files that are no longer readily playable.\u003c/p\u003e","primary_media_id":56613,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-29T11:50:07.528-04:00","updated_at":"2026-04-14T16:16:57.800-04:00","block_editor":{"data":{"id":"3761","type":"block_editor","attributes":{"id":3761,"exhibition_id":1127,"page_id":null,"created_at":"2025-06-16T12:38:21.812-04:00","updated_at":"2025-06-16T12:38:21.812-04:00","regions":[{"data":{"id":"24207","type":"region","attributes":{"id":24207,"position":1,"columns":12,"block_editor_id":3761,"created_at":"2026-04-14T16:03:13.694-04:00","updated_at":"2026-04-14T16:16:57.739-04:00","region_components":[{"data":{"id":"44484","type":"region_component","attributes":{"id":44484,"component_id":15986,"component_type":"TextComponent","position":1,"region_id":24207,"created_at":"2026-04-14T16:03:13.722-04:00","updated_at":"2026-04-14T16:16:57.745-04:00","component":{"data":{"id":"15986","type":"component","attributes":{"id":15986,"exhibition_id":1127,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eErik Loyer\u003c/strong\u003e (b. 1972; San Francisco, California) explores how interactive media change the way we share stories and experiences. In games, apps, comics, websites, and videos, he has used digital media to interweave present and past, music and poetry, performance and archive. Loyer founded the interactive media studio Opertoon in 2008, releasing narrative-driven works while also developing creative tools for exploring digital temporality used in classrooms, workshops, and commercial releases. He has created over a dozen interactive documentaries in collaboration with leading scholars, artists, and organizations such as the Martin Luther King Jr. Research and Education Institute at Stanford University in California. Loyer’s work has been commissioned by the Museum of Contemporary Art, Los Angeles, and the San Francisco Museum of Modern Art. His work has been exhibited across the United States and Europe.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"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 (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":42148,"feature_id":107,"artwork_series_id":null,"installation_series_id":2650,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2025-06-11T10:53:23.306-04:00","updated_at":"2026-02-23T16:17:04.069-05:00","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":"2004","type":"exhibition","attributes":{"id":2004,"title":"American Pop Art","start_time":"1974-04-06T00:00:00.000-04:00","end_time":"1974-06-16T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/american-pop-art","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eAmerican Pop Art\u003c/em\u003e was curated by Lawrence Alloway.\u003c/p\u003e","primary_media_id":null,"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":null,"audio_description":null,"videos_description":null,"created_at":"2025-01-17T14:18:53.172-05:00","updated_at":"2026-01-06T13:17:26.598-05:00","block_editor":{"data":{"id":"5379","type":"block_editor","attributes":{"id":5379,"exhibition_id":2004,"page_id":null,"created_at":"2025-06-16T12:38:36.861-04:00","updated_at":"2025-06-16T12:38:36.861-04:00","regions":[]}}}}},{"id":"1123","type":"exhibition","attributes":{"id":1123,"title":"Barbara Lattanzi: C-SPAN x 4","start_time":"2005-01-01T00:00:00.000-05:00","end_time":"2005-01-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"January 2005","url":"/exhibitions/barbara-lattanzi","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/9876\"\u003eBarbara Lattanzi\u003c/a\u003e created \u003cem\u003eC-SPAN x 4\u003c/em\u003e as a series of four online software tools that allowed visitors to the website of C-SPAN (the Cable-Satellite Public Affairs Network) to select video clips and manipulate and remix them. \u003cem\u003eThe Interrupting Annotator\u003c/em\u003e allowed users to annotate any selected clip and then stored and time-stamped the brief texts so that subsequent viewers could see them at the exact moment when they were originally made. In \u003cem\u003eC-SPAN Alphaville\u003c/em\u003e, the video clips were subtitled with dialogue from the English version of Jean-Luc Godard’s 1965 film \u003cem\u003eAlphaville\u003c/em\u003e, in which a dystopian society is controlled by a central computer. \u003cem\u003eC-SPAN Karaoke\u003c/em\u003e overlaid prerecorded tracks from a karaoke machine onto selected videos, inviting people to sing along. \u003cem\u003eIn Lieu of Standing on Yer Head\u003c/em\u003e simply flipped the image 180 degrees to present it upside down, a countermeasure to political spin trying to convince people that “up is down.” Although humorous, the annotations nonetheless raised serious questions about authority and projections of state power within the online media environment.\u003c/p\u003e\u003cp\u003eThis project partially relies on Shockwave .dcr files that are no longer readily playable.\u003c/p\u003e","primary_media_id":56607,"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":"","created_at":"2023-09-29T09:55:35.320-04:00","updated_at":"2026-04-13T10:21:19.814-04:00","block_editor":{"data":{"id":"3753","type":"block_editor","attributes":{"id":3753,"exhibition_id":1123,"page_id":null,"created_at":"2025-06-16T12:38:21.686-04:00","updated_at":"2025-06-16T12:38:21.686-04:00","regions":[{"data":{"id":"24164","type":"region","attributes":{"id":24164,"position":1,"columns":12,"block_editor_id":3753,"created_at":"2026-04-13T10:21:19.724-04:00","updated_at":"2026-04-13T10:21:19.760-04:00","region_components":[{"data":{"id":"44440","type":"region_component","attributes":{"id":44440,"component_id":15943,"component_type":"TextComponent","position":1,"region_id":24164,"created_at":"2026-04-13T10:21:19.748-04:00","updated_at":"2026-04-13T10:21:19.748-04:00","component":{"data":{"id":"15943","type":"component","attributes":{"id":15943,"exhibition_id":1123,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eBarbara Lattanzi\u003c/strong\u003e (b. 1950; Evanston, Illinois) is a digital artist whose films, videos, internet art, and interactive software works have been screened and exhibited widely at venues such as the 2003 Ann Arbor Film Festival, the 2002 European Media Art Festival, and the Robert Beck Memorial Cinema, New York. Her experimental software \u003cem\u003eC-SPAN Karaoke\u003c/em\u003e received an honorary mention at Transmediale, Berlin (2005) and \u003cem\u003eC-SPAN x 4\u0026nbsp;\u003c/em\u003ewas featured in the Whitney Museum’s \u003ca href=\"/exhibitions/programmed\"\u003e\u003cem\u003eProgrammed: Rules, Codes, and Choreographies 1965–2018\u003c/em\u003e\u003c/a\u003e (2018–19). Her interactive media works have been exhibited at the 2003 Version\u0026gt;03 Digital Arts Convergence, Chicago; the Ninth New York Digital Salon (2001–2); Electronics Alive II Invitational (2004); the Fourth Seoul Net and Film Festival (2003); and Turbulence.org (2003). The production of her multimedia applets and software has been stimulated in part by the open structures of net-based venues such as the online software art archive \u003ca href=\"https://runme.org/\"\u003erunme.org\u003c/a\u003e and \u003ca href=\"https://artbase.rhizome.org/wiki/Main_Page\"\u003eRhizome’s Artbase\u003c/a\u003e, which also features her work. Lattanzi is an associate professor in the School of Art and Design, Alfred University, New York.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1495","type":"exhibition","attributes":{"id":1495,"title":"Gregory J. Markopoulos: Mythic Themes, Portraiture and Films of Place","start_time":"1996-03-06T00:00:00.000-05:00","end_time":"1996-04-07T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/gregory-j-markopoulos","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eGregory J. Markopoulos: Mythic Themes, Portraiture and Films of Place\u003c/em\u003e was curated by John Hanhardt and Matthew Yokobosky.\u003c/p\u003e","primary_media_id":null,"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":null,"audio_description":null,"videos_description":null,"created_at":"2025-01-17T14:17:49.912-05:00","updated_at":"2026-01-06T13:18:45.451-05:00","block_editor":{"data":{"id":"4375","type":"block_editor","attributes":{"id":4375,"exhibition_id":1495,"page_id":null,"created_at":"2025-06-16T12:38:30.610-04:00","updated_at":"2025-06-16T12:38:30.610-04:00","regions":[]}}}}},{"id":"1746","type":"exhibition","attributes":{"id":1746,"title":"Dara Birnbaum: PM Magazine","start_time":"1984-02-04T00:00:00.000-05:00","end_time":"1984-03-04T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/dara-birnbaum","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eDara Birnbaum: PM Magazine\u003c/em\u003e was curated by John Hanhardt.\u003c/p\u003e","primary_media_id":null,"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":null,"audio_description":null,"videos_description":null,"created_at":"2025-01-17T14:18:28.010-05:00","updated_at":"2026-01-06T13:18:06.393-05:00","block_editor":{"data":{"id":"4873","type":"block_editor","attributes":{"id":4873,"exhibition_id":1746,"page_id":null,"created_at":"2025-06-16T12:38:33.695-04:00","updated_at":"2025-06-16T12:38:33.695-04:00","regions":[]}}}}},{"id":"2067","type":"exhibition","attributes":{"id":2067,"title":"Two Hundred Years of North American Indian Art","start_time":"1971-11-16T00:00:00.000-05:00","end_time":"1972-01-09T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/two-hundred-years-of-north-american-indian-art","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eTwo Hundred Years of North American Indian Art\u003c/em\u003e was curated by Norman Feder.\u003c/p\u003e","primary_media_id":null,"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":null,"audio_description":null,"videos_description":null,"created_at":"2025-01-17T14:18:59.904-05:00","updated_at":"2026-01-06T13:17:16.805-05:00","block_editor":{"data":{"id":"5501","type":"block_editor","attributes":{"id":5501,"exhibition_id":2067,"page_id":null,"created_at":"2025-06-16T12:38:37.622-04:00","updated_at":"2025-06-16T12:38:37.622-04:00","regions":[]}}}}},{"id":"69","type":"exhibition","attributes":{"id":69,"title":"Collecting Biennials","start_time":"2010-01-16T00:00:00.000-05:00","end_time":"2010-11-28T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/collecting-biennials","primary_text":"\u003cp class=\"large\"\u003eAs a prelude, counterpoint, and coda to the Biennial, the Museum’s fifth floor is devoted to artists in the Whitney’s collection whose works were shown in Biennials over the past eight decades. \u003cem\u003eCollecting Biennials\u003c/em\u003e, opening on January 16, is installed as a kind of historical survey within the Biennial, underscoring the importance of previous Biennial exhibitions in the Museum’s history and the formation of its collection. Work by one of the artists in\u0026nbsp;\u003ca href=\"/exhibitions/2010-biennial\"\u003e\u003cem\u003e2010\u003c/em\u003e\u003c/a\u003e, George Condo, is included in the mix. \u003cem\u003eCollecting Biennials\u003c/em\u003e begins nearly six weeks before the rest of the Biennial and remains on view until November 2010.\u003c/p\u003e\u003cp class=\"large\"\u003eThe following artists are included in \u003cem\u003eCollecting Biennials\u003c/em\u003e: Kenneth Anger, Richard Artschwager, Milton Avery, Matthew Barney, Ashley Bickerton, Peter Blume, Lee Bontecou, Louise Bourgeois, Vija Celmins, Larry Clark, Anne Collier, George Condo, Bruce Conner, Willem de Kooning, Richard Diebenkorn, Llyn Foulkes, Jared French, Robert Gober, Stephen Greene, Philip Guston, David Hammons, Trenton Doyle Hancock, Duane Hanson, Alex Hay, Edward Hopper, Jasper Johns, Mike Kelley, Barbara Kruger, Zoe Leonard, Sherrie Levine, Glenn Ligon, Sylvia Plimack Mangold, Agnes Martin, Paul McCarthy, Allan McCollum, Bruce Nauman, Barnett Newman, Claes Oldenburg, Raymond Pettibon, Charles Ray, Mark Rothko, Ed Ruscha, David Salle, Julian Schnabel, Cindy Sherman, Charles Simonds, George Tooker, Cy Twombly, Andy Warhol, Franklin C. Watkins, and Sue Williams.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eCollecting Biennials\u003c/em\u003e was organized by \u003ca href=\"/exhibitions/2010-biennial\"\u003e\u003cem\u003e2010\u003c/em\u003e\u003c/a\u003e curator Francesco Bonami and associate curator Gary Carrion-Murayari.\u003c/p\u003e","primary_media_id":4079,"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":"\u003cp\u003eVideo: Curator Gary Carrion-Murayari and WCBS reporter Dana Tyler walk through \u003cem\u003eCollecting Biennials\u003c/em\u003e\u003cbr\u003e\u003cem\u003e—WCBS 2 News\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"a must-see appendage to the main event, the 2010 Whitney Biennial. Beautifully installed on the fifth floor, it caps off an extravaganza of brand-new art with a humbling and diverting mix of classics, oldies and one-hit wonders, all drawn from the Whitney’s collection\"\u003cbr\u003e\u003cem\u003e—\u003ca href=\"http://www.nytimes.com/2010/02/26/arts/design/26collecting.html?ref=design\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003eAudio: \"it serves as a reminder that the museum can be, at times, prescient in its selections.\"\u003cbr\u003e\u003cem\u003e—WNYC\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"The Whitney's Greatest Hits\"\u003cbr\u003e\u003cem\u003e—\u003ca href=\"http://www.forbes.com/2010/02/05/whitney-biennial-museums-american-art-review-opinions-contributors-sarah-wolff.html\"\u003eForbes\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e","audio_description":"","videos_description":"","created_at":"2017-04-03T12:46:44.000-04:00","updated_at":"2025-06-16T12:34:07.768-04:00","block_editor":{"data":{"id":"2137","type":"block_editor","attributes":{"id":2137,"exhibition_id":69,"page_id":null,"created_at":"2025-06-16T12:34:07.757-04:00","updated_at":"2025-06-16T12:34:07.757-04:00","regions":[]}}}}},{"id":"1248","type":"exhibition","attributes":{"id":1248,"title":"Selections from the Permanent Collection","start_time":"1952-05-07T00:00:00.000-04:00","end_time":"1952-05-29T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/permanent-collection-1952-2","primary_text":null,"primary_media_id":null,"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":"","created_at":"2024-01-26T18:42:43.728-05:00","updated_at":"2025-06-16T12:38:23.809-04:00","block_editor":{"data":{"id":"3977","type":"block_editor","attributes":{"id":3977,"exhibition_id":1248,"page_id":null,"created_at":"2025-06-16T12:38:23.803-04:00","updated_at":"2025-06-16T12:38:23.803-04:00","regions":[]}}}}},{"id":"1494","type":"exhibition","attributes":{"id":1494,"title":"Collection in Context: Willem de Kooning's Door Cycle","start_time":"1996-03-14T00:00:00.000-05:00","end_time":"1996-03-26T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/collection-in-context-1996","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eCollection in Context: Willem de Kooning's Door Cycle\u003c/em\u003e was curated by Adam D. Weinberg, Judith Hoos Fox, and Judith Zilczer.\u003c/p\u003e","primary_media_id":null,"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":null,"audio_description":null,"videos_description":null,"created_at":"2025-01-17T14:17:49.816-05:00","updated_at":"2026-01-06T13:18:45.756-05:00","block_editor":{"data":{"id":"4373","type":"block_editor","attributes":{"id":4373,"exhibition_id":1494,"page_id":null,"created_at":"2025-06-16T12:38:30.599-04:00","updated_at":"2025-06-16T12:38:30.599-04:00","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\u003cbr\u003eBank 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":null,"videos_description":"","created_at":"2017-04-03T12:47:12.000-04:00","updated_at":"2025-06-16T12:34:16.209-04:00","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":"37","type":"exhibition","attributes":{"id":37,"title":"Paul McCarthy: Central Symmetrical Rotation Movement\u003cbr\u003eThree Installations, Two Films","start_time":"2008-06-26T00:00:00.000-04:00","end_time":"2008-10-12T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/paul-mccarthy","primary_text":"\u003cp class=\"large\"\u003eThis exhibition brings together a group of new and rarely seen works by Paul McCarthy (b. 1945), one of the most influential American artists of his generation. The show focuses on a core strand of McCarthy's work: the use of architecture to create perceptual disorientation in the viewer through spinning mirrors, rotating walls, projections, and altered space.\u003c/p\u003e\u003cp class=\"large\"\u003eIn \u003cem\u003eBang Bang Room\u003c/em\u003e\u0026nbsp;(1992), the space almost seems to come alive as the walls of a free-standing domestic room move slowly in and out, the doors in each wall wildly slamming open and shut. In \u003cem\u003eSpinning Room\u003c/em\u003e\u0026nbsp;(2008), first conceived in 1971 but being realized for the first time for this show, live images of viewers are rotated and projected onto double-sided screens that appear infinitely reflected on four surrounding mirrored walls, enclosing the viewer in a wildly disorienting space. In \u003cem\u003eMad House\u003c/em\u003e\u0026nbsp;(2008), being created for this show, a room spins disconcertingly on its axis. Two recently rediscovered films by McCarthy, one made in 1966 and one in 1971, reveal the artist's interest in perceptual puzzlement from the very beginning of his career.\u003c/p\u003e\u003cp\u003eMajor support for this exhibition is provided by the National Committee of the Whitney Museum of American Art in honor of Linda Pace.\u003c/p\u003e\u003cp\u003eGenerous support is provided by Warren and Allison Kanders.\u003c/p\u003e","primary_media_id":3110,"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":"\u003cp\u003e\"a smart, tightly focused study of the formal and conceptual underpinnings of Mr. McCarthy's art: his work stripped to its bare, abstract yet still metaphorically resonant essentials.\"\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cem\u003e- \u003ca href=\"http://www.nytimes.com/2008/06/27/arts/design/27mcca.html?ref=design\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\"The Whitney connects the past and present of Paul McCarthy’s work.\"\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cem\u003e- \u003ca href=\"http://newyork.timeout.com/articles/art/33331/back-to-the-future\"\u003eTime Out New York\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e","audio_description":null,"videos_description":null,"created_at":"2017-04-03T12:46:25.000-04:00","updated_at":"2025-06-16T12:34:03.318-04:00","block_editor":{"data":{"id":"2077","type":"block_editor","attributes":{"id":2077,"exhibition_id":37,"page_id":null,"created_at":"2025-06-16T12:34:03.313-04:00","updated_at":"2025-06-16T12:34:03.313-04:00","regions":[]}}}}},{"id":"2310","type":"exhibition","attributes":{"id":2310,"title":"Grace Rosario Perkins: Circles, Spokes, Zigzags, Rivers ","start_time":"2025-10-18T00:00:00.000-04:00","end_time":"2026-02-08T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/grace-rosario-perkins","primary_text":"\u003cp lang=\"EN-US\" class=\"large\"\u003e\u003cem\u003eCircles, Spokes, Zigzags, Rive\u003c/em\u003e\u003cem\u003ers\u003c/em\u003e brings together nine recent paintings and a large-scale sculpture by Grace Rosario Perkins (b. 1986; Santa Fe, New Mexico; Akimel O’odham/Diné). The title of the exhibition describes petroglyphs that connect the artist’s family to her tribal homelands in the southwestern United States, including the vital, yet threatened, waters of the Gila River and Rio Grande. The influence of such longstanding technologies of visual storytelling is evident in Perkins’s symbol-rich art. Flowers, stars, the sun, and spider webs are given significant presence within the systems the artist creates to record her life.\u0026nbsp;\u003c/p\u003e\u003cp lang=\"EN-US\" class=\"large\"\u003ePerkins builds the surfaces of her densely layered paintings with acrylic and spray paint, found materials, personal belongings, and textual fragments through a process of addition and redaction. Guided by intuition, diaristic encounter, a do-it-yourself ethos, spirituality, and plant medicine, the artist references popular and material culture as they converge with more intimate reflections on grief, love, and hope. By working in abstraction, she resists reductive representations of Indigenous identity, instead offering an expansive vision rooted in both ancestral knowledge and the urgencies of now.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eGrace Rosario Perkins: Circles, Spokes, Zigzags, Rivers\u003c/em\u003e is organized by Adrienne Edwards, Engell Speyer Family Senior Curator and Associate Director of Curatorial Programs, with Rose Pallone, Curatorial Assistant.\u003c/p\u003e\u003cp\u003eMajor support for \u003cem\u003eGrace Rosario Perkins: Circles, Spokes, Zigzags, Rivers\u003c/em\u003e is provided by the John R. Eckel, Jr. Foundation.\u003c/p\u003e\u003cp\u003eSignificant support is provided by Sueyun and Gene Locks.\u003c/p\u003e\u003cp\u003eAdditional support is provided by the Girlfriend Fund, and Sasha and Charlie Sealy. \u0026nbsp;\u003c/p\u003e","primary_media_id":63094,"override_media_id":null,"sign_media_id":null,"feature_id":109,"artwork_series_id":null,"installation_series_id":2657,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2025-07-22T11:32:25.692-04:00","updated_at":"2026-03-24T13:53:40.239-04:00","block_editor":{"data":{"id":"5889","type":"block_editor","attributes":{"id":5889,"exhibition_id":2310,"page_id":null,"created_at":"2025-07-22T11:32:25.690-04:00","updated_at":"2025-07-22T11:32:25.690-04:00","regions":[]}}}}}],"meta":{"total":1614},"links":{"prev":null,"next":"https://whitney.org/api/exhibitions?page=2\u0026q%5Bs%5D=random","first":"https://whitney.org/api/exhibitions?page=1\u0026q%5Bs%5D=random","last":"https://whitney.org/api/exhibitions?page=54\u0026q%5Bs%5D=random"}}