{"data":[{"id":"1804","type":"exhibition","attributes":{"id":1804,"title":"Robert Smithson: Sculpture","start_time":"1982-02-19T00:00:00.000-05:00","end_time":"1982-04-18T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/robert-smithson-1982","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eRobert Smithson: Sculpture\u003c/em\u003e was organized by the Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York.\u003c/p\u003e\n\u003cp class=\"large\"\u003e\u003cem\u003eRobert Smithson: Sculpture\u003c/em\u003e was curated by Robert Hobbs.\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,"popularity":0.09210526315789473,"created_at":"2025-01-17T14:18:33.719-05:00","updated_at":"2026-01-06T13:17:58.478-05:00","block_editor":{"data":{"id":"4987","type":"block_editor","attributes":{"id":4987,"exhibition_id":1804,"page_id":null,"created_at":"2025-06-16T12:38:34.442-04:00","updated_at":"2025-06-16T12:38:34.442-04:00","regions":[]}}}}},{"id":"1882","type":"exhibition","attributes":{"id":1882,"title":"Recent Acquisitions: Graphics","start_time":"1979-08-29T00:00:00.000-04:00","end_time":"1979-10-21T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/recent-acquisitions-1979","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eRecent Acquisitions: Graphics\u003c/em\u003e was curated by Judith Goldman.\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,"popularity":0.049342105263157895,"created_at":"2025-01-17T14:18:40.916-05:00","updated_at":"2026-01-06T13:17:47.297-05:00","block_editor":{"data":{"id":"5141","type":"block_editor","attributes":{"id":5141,"exhibition_id":1882,"page_id":null,"created_at":"2025-06-16T12:38:35.392-04:00","updated_at":"2025-06-16T12:38:35.392-04:00","regions":[]}}}}},{"id":"1552","type":"exhibition","attributes":{"id":1552,"title":"Paul Strand","start_time":"1992-03-13T00:00:00.000-05:00","end_time":"1992-05-17T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/paul-strand","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003ePaul Strand\u003c/em\u003e was organized by the National Gallery of Art, Washington, D.C..\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,"popularity":0.03618421052631579,"created_at":"2025-01-17T14:18:04.346-05:00","updated_at":"2026-01-06T13:18:28.069-05:00","block_editor":{"data":{"id":"4489","type":"block_editor","attributes":{"id":4489,"exhibition_id":1552,"page_id":null,"created_at":"2025-06-16T12:38:31.340-04:00","updated_at":"2025-06-16T12:38:31.340-04:00","regions":[]}}}}},{"id":"911","type":"exhibition","attributes":{"id":911,"title":"Glenn O. Coleman Memorial Exhibition","start_time":"1932-10-18T00:00:00.000-05:00","end_time":"1932-11-16T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/glenn-coleman","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":"","popularity":0.06578947368421052,"created_at":"2020-08-14T14:51:37.294-04:00","updated_at":"2025-06-16T12:38:12.887-04:00","block_editor":{"data":{"id":"3551","type":"block_editor","attributes":{"id":3551,"exhibition_id":911,"page_id":null,"created_at":"2025-06-16T12:38:12.866-04:00","updated_at":"2025-06-16T12:38:12.866-04:00","regions":[]}}}}},{"id":"328","type":"exhibition","attributes":{"id":328,"title":"Whitney Biennial 1981","start_time":"1981-01-20T00:00:00.000-05:00","end_time":"1981-04-12T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/biennial-1981","primary_text":"\u003cp class=\"large\"\u003eThe Whitney Biennial 1981 was curated by John G. Hanhardt, Barbara Haskell, Richard Marshall, and Patterson Sims.\u003cbr\u003e\u003cbr\u003eView the full exhibition catalogue at the \u003ca href=\"https://archive.org/details/1981biennialexhi\"\u003eInternet Archive\u003c/a\u003e.\u003c/p\u003e","primary_media_id":41590,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2470,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“. . . an occasionally repulsive show. There are whole stretches of it, moreover, that are extremely boring. All the same, it is a show that everyone interested in the art of our time will want to see. It is a show that really tells us something about the condition of our culture.” —\u003ca href=\"https://www.nytimes.com/1981/02/06/arts/art-a-strategy-for-viewing-the-whitney-biennial.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“Most of the photography hanging right now in the Whitney Biennial is kitsch, if one of the ways we define kitsch is an extraordinary expenditure of means with very little result.” —\u003ca href=\"https://www.jstor.org/stable/778377\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eOctober\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"","videos_description":"","popularity":0.3256578947368421,"created_at":"2019-03-05T18:27:38.539-05:00","updated_at":"2025-06-16T12:34:54.230-04:00","block_editor":{"data":{"id":"2505","type":"block_editor","attributes":{"id":2505,"exhibition_id":328,"page_id":null,"created_at":"2025-06-16T12:34:54.225-04:00","updated_at":"2025-06-16T12:34:54.225-04:00","regions":[]}}}}},{"id":"29","type":"exhibition","attributes":{"id":29,"title":"Jenny Holzer: PROTECT PROTECT","start_time":"2009-03-12T00:00:00.000-04:00","end_time":"2009-05-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/jenny-holzer","primary_text":"\u003cp class=\"large\"\u003eJenny Holzer's pioneering approach to language as a carrier of content and her use of nontraditional media and public settings as vehicles for that content make her one of the most interesting and significant artists working today. Alternating between fact and fiction, the public and the private, the universal and the particular, Holzer's work offers an incisive social and psychological portrait of our times. \u003cem\u003ePROTECT PROTECT\u003c/em\u003e\u0026nbsp;centers on Holzer's work since the 1990s and is the artist's most comprehensive exhibition in the United States in more than fifteen years.\u003c/p\u003e\u003cp class=\"large\"\u003eUsing language as her medium, Jenny Holzer (b. 1950) has created a critically important body of work over the past three decades. Her texts have appeared in nontraditional media such as posters and electronic signs, billboards and T-shirts, and most recently as dematerialized, luminous projections on surfaces as different as crashing ocean waves and the Louvre’s large glass pyramid. Perhaps surprising for those who have followed the work of this artist for many years, her chosen texts recently have been rendered in oil paintings and in dazzling, large-scale electronic sculptures. While the political content of Holzer’s latest work fits in the tradition of Goya, the ethereal color and architectural scale draw inspiration from Matisse, Malevich, Rothko, and LeWitt.\u003cbr\u003e\u003cbr\u003eThe works in this exhibition feature selections of Holzer’s writings from 1977 to 2001, as well as declassified pages from U.S. government documents she has used as source material since 2004. The exhibition’s subtitle PROTECT PROTECT derives from texts detailing plans for the Iraq war, yet it also relates to the problematic power of personal desire, as encapsulated in one of Holzer’s best-known statements: PROTECT ME FROM WHAT I WANT.\u003cbr\u003e\u003cbr\u003eWhether she is using her own idiomatic texts, borrowing the words of international poets, or citing formerly classified materials containing policy debates, battle plans, and testimonies of American soldiers and detainees in U.S. custody, Holzer works between the public and private, the body politic and the body, the universal and the particular. Always timely, she provides a range of opinions, attitudes, and voices in works infused with formal beauty, sensitivity, and power.\u003c/p\u003e\u003cp class=\"large\"\u003eThe exhibition is organized by Elizabeth Smith, James W. Alsdorf Chief Curator and Deputy Director for Programs at the Museum of Contemporary Art, Chicago. David Kiehl, Nancy and Fred Poses Curator, is overseeing the installation at the Whitney.\u003c/p\u003e\u003cp\u003e\u003cem\u003eJenny Holzer: PROTECT PROTECT\u003c/em\u003e is co-organized by the Museum of Contemporary Art, Chicago, and Fondation Beyeler, Riehen/Basel, Switzerland.\u003cbr\u003e\u003cbr\u003eMajor support for\u0026nbsp;\u003cem\u003eJenny Holzer: PROTECT PROTECT\u003c/em\u003e is provided by Donald and Brigitte Bren, Anne and Burt Kaplan, The Andy Warhol Foundation for the Visual Arts, and the National Endowment for the Arts.\u003c/p\u003e\u003cp\u003eAdditional support is generously provided by Andrea and Jim Gordon, Penny Pritzker and Bryan Traubert, Sara Szold, Gretchen and Jay Jordan, the Kovler Family Foundation, Cari and Michael Sacks, Howard and Donna Stone, Kathy and Steven Taslitz, Helen and Sam Zell, Lannan Foundation, the Graham Foundation for Advanced Studies in the Fine Arts, Cheim \u0026amp; Read, Monika Sprüth Philomene Magers, Yvon Lambert, Barbara Ruben, Irving Stenn, Jr., Lynn and Allen Turner, and The Orbit Fund.\u003cbr\u003e\u003cbr\u003eMajor support for the Whitney's presentation is provided by the National Committee of the Whitney Museum of American Art in honor of Linda Pace, Jack and Susan Rudin in honor of Beth Rudin DeWoody, and The Broad Art Foundation.\u003cbr\u003e\u003cbr\u003eSignificant support is provided by Elizabeth A. Sackler—JCF, Museum Educational Trust.\u003cbr\u003e\u003cbr\u003eSponsored by Bloomberg.\u003c/p\u003e","primary_media_id":3105,"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“Holzer grabs viewers by the eyeballs from the very first installation, and refuses to let go.”\u003cbr\u003e--\u003ca href=\"http://www.timeout.com/newyork/articles/art/72675/jenny-holzer-protect-protect\"\u003e\u003cem\u003eTime Out New York\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“The Whitney’s spare, potent retrospective of Holzer’s work paradoxically highlights its elusiveness and deep engagement in the issues of our time.”\u003cbr\u003e--\u003ca href=\"http://www.ft.com/cms/s/2/9e1ea074-1318-11de-a170-0000779fd2ac.html\"\u003e\u003cem\u003eThe Financial Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“taking us deep into the machinations of human frailty and power.”\u003cbr\u003e--\u003ca href=\"http://www.nytimes.com/2009/03/13/arts/design/13holz.html\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"the great Jenny Holzer is more relevant than ever”\u003cbr\u003e--\u003cem\u003e\u003ca href=\"http://www.metropolismag.com/story/20090513/hero-worship-can-be-strangely-satisfying\"\u003eMetropolis\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“Her work enchants as it provokes, lulling us with lights and action even as we are unsettled by the words they illuminate.”\u003cbr\u003e--\u003ca href=\"http://www.artinamericamagazine.com/reviews/jenny-holzer/\"\u003e\u003cem\u003eArt in America\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eQ \u0026amp; A: \"thoughts on Twitter, grad-school loserdom and why shorter is better.\"\u003cbr\u003e--\u003ca href=\"http://themoment.blogs.nytimes.com/2009/04/20/now-showing-jenny-holzer/\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e, \u003cem\u003eT Magazine\u003c/em\u003e blog\u003c/p\u003e\u003cp\u003eVideo: Whitney Chief Curator Donna De Salvo on \u003cem\u003ePROTECT PROTECT\u0026nbsp;\u003c/em\u003e\u003cbr\u003e--\u003ca href=\"http://www.thirteen.org/sundayarts/video/jenny-holzer-protect-protect/266/\"\u003e\u003cem\u003eWNET/Thirteen SundayArts\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eQ \u0026amp; A: \"Jenny Holzer Discusses Her Process\"\u003cbr\u003e--\u003ca href=\"http://www.thirteen.org/sundayarts/blog/interview/jenny-holzer-discusses-her-process\"\u003e\u003cem\u003eWNET/Thirteen SundayArts Blog\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eQ \u0026amp; A: \"Jenny Holzer Says What We’re Thinking\"\u003cbr\u003e--\u003ca href=\"http://www.elle.com/culture/art-design/a9864/jenny-holzer-317607/\"\u003e\u003cem\u003eElle\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eOnline project: Jenny Holzer’s Paper Trail\u003cbr\u003e--\u003ca href=\"http://www.timeout.com/newyork/articles/art/72395/jenny-holzers-paper-trail\"\u003e\u003cem\u003eTime Out New York\u003c/em\u003e\u003c/a\u003e\u003cbr\u003e\u003cbr\u003eAudio Preview\u003cbr\u003e--\u003ca href=\"http://www.wnyc.org/news/articles/126070\"\u003e\u003cem\u003eWNYC\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eSlideshow Preview\u003cbr\u003e--\u003ca href=\"http://blogs.wnyc.org/culture/2009/03/11/jenny-holzer-at-the-whitney/\"\u003e\u003cem\u003eWNYC\u003c/em\u003e\u003c/a\u003e\u003cbr\u003e\u003cbr\u003eQ \u0026amp; A: \"Using PROTECTion\"\u003cbr\u003e--\u003ca href=\"http://www.nypress.com/article-19515-using-protection.html\"\u003e\u003cem\u003eNew York Press\u003c/em\u003e\u003c/a\u003e\u003cbr\u003e\u003cbr\u003eQ \u0026amp; A: \"To Whom It May Concern\"\u003cbr\u003e--\u003ca href=\"http://www.artinfo.com/news/story/29158/to-whom-it-may-concern/\"\u003e\u003cem\u003eModern Painters\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":null,"videos_description":null,"popularity":0.4407894736842105,"created_at":"2017-04-03T12:46:20.000-04:00","updated_at":"2025-06-16T12:34:02.361-04:00","block_editor":{"data":{"id":"2061","type":"block_editor","attributes":{"id":2061,"exhibition_id":29,"page_id":null,"created_at":"2025-06-16T12:34:02.356-04:00","updated_at":"2025-06-16T12:34:02.356-04:00","regions":[]}}}}},{"id":"2014","type":"exhibition","attributes":{"id":2014,"title":"Nine Artists/Coenties Slip","start_time":"1974-01-10T00:00:00.000-04:00","end_time":"1974-02-21T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/nine-artists-coenties-slip","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,"popularity":0.05921052631578947,"created_at":"2025-01-17T14:18:54.070-05:00","updated_at":"2026-01-06T13:17:25.382-05:00","block_editor":{"data":{"id":"5399","type":"block_editor","attributes":{"id":5399,"exhibition_id":2014,"page_id":null,"created_at":"2025-06-16T12:38:36.987-04:00","updated_at":"2025-06-16T12:38:36.987-04:00","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,"popularity":0.21710526315789475,"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":"1622","type":"exhibition","attributes":{"id":1622,"title":"Guy Pène Du Bois: The 1920s","start_time":"1988-09-15T00:00:00.000-04:00","end_time":"1988-11-27T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/guy-p-ne-du-bois","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eGuy Pène Du Bois: The 1920s\u003c/em\u003e was curated by Richard Armstrong.\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,"popularity":0.0625,"created_at":"2025-01-17T14:18:14.650-05:00","updated_at":"2026-01-06T13:18:18.245-05:00","block_editor":{"data":{"id":"4629","type":"block_editor","attributes":{"id":4629,"exhibition_id":1622,"page_id":null,"created_at":"2025-06-16T12:38:32.189-04:00","updated_at":"2025-06-16T12:38:32.189-04:00","regions":[]}}}}},{"id":"1148","type":"exhibition","attributes":{"id":1148,"title":"Natalie Ball: bilwi naats Ga’niipci","start_time":"2023-11-17T00:00:00.000-05:00","end_time":"2024-02-19T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/natalie-ball","primary_text":"\u003cp class=\"large\"\u003eThis exhibition gathers a group of new sculptural assemblages by Natalie Ball (b. 1980). Its title, \u003cem\u003ebilwi naats Ga’niipci\u003c/em\u003e, translates to “we smell like the outside”—an adaptation of an expression Ball associates with her childhood and family in both Black and Indigenous spaces. The word “naats,” or “we,” reflects her intersecting identities as a Black, Modoc, and Klamath artist working from her ancestral homelands in Southern Oregon and Northern California. \u0026nbsp;\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eBall begins by gathering a range of materials, often including hides, quilts, newspaper, and plywood. She then deconstructs, shapes, and stitches these objects together into layered forms that evoke a bodily presence. Her working process takes place within an expansive “studio” that encompasses her house, garage, yard, and the nearby ya-ah-gah goo’geh (Williamson River) and is inseparable from her relationships with the people and languages of her communities. The objects Ball chooses to incorporate carry with them the textures, stories, and scents of the places they have been, resulting in works that deepen and destabilize understandings of Indigenous life in the United States. These traces of transformed history echo into sites of display, like this one, and will resonate into the future. \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition will be on view in the Museum’s Lobby gallery, which is accessible to the public free of charge, as part of the Whitney Museum’s enduring commitment to support and showcase the most recent work of emerging artists.\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition is organized by Jennie Goldstein, Jennifer Rubio Associate Curator of the Collection, with Rose Pallone, Curatorial Assistant.\u003c/p\u003e\u003cp\u003eGenerous support for \u003cem\u003eNatalie Ball: bilwi naats Ga’niipci\u0026nbsp;\u003c/em\u003eis provided by the John R. Eckel, Jr. Foundation.\u003c/p\u003e\u003cp\u003eAdditional support is provided by Becky Gochman and Bernard I. Lumpkin and Carmine D. Boccuzzi.\u003c/p\u003e","primary_media_id":57281,"override_media_id":null,"sign_media_id":null,"feature_id":57,"artwork_series_id":null,"installation_series_id":2612,"perspective_series_id":null,"press_highlights":"","audio_description":"\u003cp\u003eNatalie Ball has been wanting to collaborate with the DJ HEAVY PLEASURE (Kahelelani Mahone) ever since she met them. Ball commissioned this playlist on the occasion of her exhibition \u003cem\u003eNatalie Ball: bilwi naats Ga’niipci.\u0026nbsp;\u003c/em\u003eBall described her studio vibe and sent HEAVY PLEASURE songs that she played frequently while preparing the exhibition. Enjoy their first-ever collaboration and find more from HEAVY PLEASURE on \u003ca href=\"https://soundcloud.com/heavy_pleasure\"\u003eSoundCloud\u003c/a\u003e.\u0026nbsp;\u003c/p\u003e\u003cp\u003eAlso, listen to the artist and others say the exhibition title, \u003cem\u003ebilwi naats Ga’niipci\u0026nbsp;\u003c/em\u003e(pronounced\u003cem\u003e\u0026nbsp;\u003c/em\u003e“bill-wee knots guh-neep-chih”\u003cem\u003e\u003cem\u003e),\u003c/em\u003e\u003c/em\u003e in maqlaqsyals (Language of the People).\u0026nbsp;\u003c/p\u003e","videos_description":"","popularity":0.3618421052631579,"created_at":"2023-11-20T11:32:14.369-05:00","updated_at":"2026-03-26T16:53:06.106-04:00","block_editor":{"data":{"id":"3789","type":"block_editor","attributes":{"id":3789,"exhibition_id":1148,"page_id":null,"created_at":"2025-06-16T12:38:22.180-04:00","updated_at":"2025-06-16T12:38:22.180-04:00","regions":[]}}}}},{"id":"665","type":"exhibition","attributes":{"id":665,"title":"Bob Thompson","start_time":"1998-09-25T00:00:00.000-04:00","end_time":"1999-01-03T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/bob-thompson","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eBob Thompson\u003c/em\u003e was curated by Thelma Golden and Judith Wilson.\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":"","popularity":0.049342105263157895,"created_at":"2020-08-14T14:49:14.487-04:00","updated_at":"2026-01-06T13:43:49.940-05:00","block_editor":{"data":{"id":"3073","type":"block_editor","attributes":{"id":3073,"exhibition_id":665,"page_id":null,"created_at":"2025-06-16T12:37:47.665-04:00","updated_at":"2025-06-16T12:37:47.665-04:00","regions":[]}}}}},{"id":"1193","type":"exhibition","attributes":{"id":1193,"title":"Two Hundred American Watercolors Selected from a National Competition Held by the Section of Fine Arts,Washington, D.C.","start_time":"1941-09-16T00:00:00.000-04:00","end_time":"1941-09-30T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/two-hundred-american-watercolors","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eTwo Hundred American Watercolors Selected from a National Competition Held by the Section of Fine Arts, Washington, D.C.\u003c/em\u003e was curated by Hermon More.\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":"","popularity":0.06907894736842106,"created_at":"2024-01-19T12:45:38.316-05:00","updated_at":"2025-06-16T12:38:22.862-04:00","block_editor":{"data":{"id":"3869","type":"block_editor","attributes":{"id":3869,"exhibition_id":1193,"page_id":null,"created_at":"2025-06-16T12:38:22.856-04:00","updated_at":"2025-06-16T12:38:22.856-04:00","regions":[]}}}}},{"id":"621","type":"exhibition","attributes":{"id":621,"title":"Kenneth Josephson: A Retrospective","start_time":"2001-02-22T00:00:00.000-05:00","end_time":"2001-05-27T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/kenneth-josephson","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eKenneth Josephson: A Retrospective\u003c/em\u003e was organized by the Art Institute of Chicago.\u003c/p\u003e","primary_media_id":24645,"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":null,"videos_description":null,"popularity":0.06578947368421052,"created_at":"2020-08-14T14:48:30.501-04:00","updated_at":"2026-01-06T14:12:23.794-05:00","block_editor":{"data":{"id":"2987","type":"block_editor","attributes":{"id":2987,"exhibition_id":621,"page_id":null,"created_at":"2025-06-16T12:37:39.304-04:00","updated_at":"2025-06-16T12:37:39.304-04:00","regions":[]}}}}},{"id":"1903","type":"exhibition","attributes":{"id":1903,"title":"The Mouse Museum/The Ray Gun Wing: Two Collections/Two Buildings by Claes Oldenburg","start_time":"1978-09-28T00:00:00.000-04:00","end_time":"1978-11-26T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/the-mouse-museum-the-ray-gun-wing","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eThe Mouse Museum/The Ray Gun Wing: Two Collections/Two Buildings by Claes Oldenburg\u003c/em\u003e was organized by the Museum of Contemporary Art, Chicago.\u003c/p\u003e\n\u003cp class=\"large\"\u003e\u003cem\u003eThe Mouse Museum/The Ray Gun Wing: Two Collections/Two Buildings by Claes Oldenburg\u003c/em\u003e was curated by Judith Russi Kirshner.\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,"popularity":0.05263157894736842,"created_at":"2025-01-17T14:18:42.736-05:00","updated_at":"2026-01-06T13:17:44.397-05:00","block_editor":{"data":{"id":"5181","type":"block_editor","attributes":{"id":5181,"exhibition_id":1903,"page_id":null,"created_at":"2025-06-16T12:38:35.641-04:00","updated_at":"2025-06-16T12:38:35.641-04:00","regions":[]}}}}},{"id":"381","type":"exhibition","attributes":{"id":381,"title":"1938 Annual Exhibition of Contemporary American Painting","start_time":"1938-11-02T00:00:00.000-05:00","end_time":"1938-12-11T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/annual-1938-2","primary_text":"\u003cp class=\"large\"\u003eView the full exhibition catalogue at the \u003ca href=\"https://archive.org/details/1938annualpaint00whit\"\u003eInternet Archive\u003c/a\u003e.\u003c/p\u003e","primary_media_id":41644,"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“Of course there is about the usual amount of paint in evidence, but much of it might just as well have stayed in the tubes—a judgment that would be over severe, no doubt, were there no standards to be upheld . . .” —\u003ca href=\"https://www.nytimes.com/1938/11/02/archives/u-s-painters-open-annual-exhibition-contemporary-show-of-1938-is.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“[The exhibition] has significance beyond the limits of its actual artistic accomplishment for that part of the public which regards art as an experience that may intensify life, making it more profound and coherent.” —\u003ca href=\"https://www.jstor.org/stable/25115048\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe North American Review\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"","videos_description":"","popularity":0.15460526315789475,"created_at":"2019-03-05T19:33:46.118-05:00","updated_at":"2025-06-16T12:37:06.141-04:00","block_editor":{"data":{"id":"2611","type":"block_editor","attributes":{"id":2611,"exhibition_id":381,"page_id":null,"created_at":"2025-06-16T12:37:06.136-04:00","updated_at":"2025-06-16T12:37:06.136-04:00","regions":[]}}}}},{"id":"164","type":"exhibition","attributes":{"id":164,"title":"Rachel Rose: Everything and More","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/rachel-rose","primary_text":"\u003cp class=\"large\"\u003eAn emerging artist based in New York, Rachel Rose will receive her first solo exhibition in the United States this fall in the Museum’s fifth-floor Kaufman Gallery. Rose (b. 1986) is known for her striking video installations that deftly merge moving images and sound with nuanced environments. She investigates specific sites and ideas by connecting them to broader, related subject matter. Rose’s presentation at the Whitney will physically engage with the architecture of the Museum’s new Renzo Piano–designed building. Using her own footage and found material, Rose addresses the ubiquity of images and how it generates meaning in contemporary society.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition is organized by Christopher Y. Lew, Associate Curator.\u003c/p\u003e","primary_media_id":8078,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":296,"perspective_series_id":null,"press_highlights":"\u003cp\u003e\"an ecstatic epic about gravities, literal and figurative, which unfolds onscreen...and orbits in the mind’s eye for days.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.newyorker.com/magazine/2015/11/30/seeing-stars-art-andrea-k-scott\"\u003eThe New Yorker\u003c/a\u003e\u003cbr\u003e\u003c/em\u003e\u003cbr\u003e\"The Up-and-Coming Artist You've Been Waiting for Has Arrived\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"https://broadly.vice.com/en_us/article/the-up-and-coming-artist-youve-been-waiting-for-has-arrived\"\u003eBroadly\u003c/a\u003e\u003cbr\u003e\u003cbr\u003e\u003c/em\u003e\"Rachel Rose: Artist Sets Out on Gravity-inspired Space Odyssey\"\u003cbr\u003e—\u003ca href=\"http://www.theguardian.com/artanddesign/2015/oct/26/rachel-rose-artist-gravity-space-whitney-museum\"\u003e\u003cem\u003eThe Guardian\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"The video is a sensorial coup...Together, all the elements deliver an out-of-body thrill.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.wmagazine.com/culture/art-and-design/2015/11/rachel-rose-whitney-museum/photos/\" target=\"_self\"\u003eW Magazine\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Rose has the rare ability to impart an experience of materiality through the moving image.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://bombmagazine.org/article/8919825/rachel-rose\" target=\"_blank\"\u003eBOMB Magazine\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e","audio_description":"","videos_description":"","popularity":0.46710526315789475,"created_at":"2017-04-03T12:47:39.000-04:00","updated_at":"2025-06-16T12:34:25.907-04:00","block_editor":{"data":{"id":"2289","type":"block_editor","attributes":{"id":2289,"exhibition_id":164,"page_id":null,"created_at":"2025-06-16T12:34:25.902-04:00","updated_at":"2025-06-16T12:34:25.902-04:00","regions":[]}}}}},{"id":"1033","type":"exhibition","attributes":{"id":1033,"title":"Amelia Winger-Bearskin: Sky/World Death/World","start_time":"2022-12-15T00:00:00.000-05:00","end_time":"2023-04-10T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/amelia-winger-bearskin","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/20683\"\u003eAmelia Winger-Bearskin\u003c/a\u003e’s \u003cem\u003eSky/World Death/World\u0026nbsp;\u003c/em\u003ecombines animations and poetic text connecting sunrise and sunset to Indigenous creation myths. The \u003cem\u003eSky/World\u003c/em\u003e of sunrise references the Haudenosaunee origin story of Sky Woman who belonged to the sky people, a tribe rooted in the celestial heavens before the world was created. After falling through a hole created by an uprooted tree, Sky Woman creates a home on earth out of the oceans and mud with the help of animals. Winger-Bearskin pairs abstract animations of dawn created in a game engine with the question “Who benefits from your burnout?,” using it as a prompt for reflecting on the sharing of life. The \u003cem\u003eDeath/World\u003c/em\u003e of sunset asks the question “What is made bright by the loss of your light?” and hints at the thin veil between sleep and death while evoking renewal. The accompanying animation mixes abstract visuals with a video clip of the artist herself that once was part of one of her artworks. The work had disappeared, and the footage was recovered from the Internet Archive, a testament to both the ephemerality of digital work and the potential of recovery. The questions raised in \u003cem\u003eSky/World Death/World\u003c/em\u003e were originally written by Winger-Bearskin for a series of billboards by the artist collective For Freedoms of which she is a member.\u003c/p\u003e","primary_media_id":54434,"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":0.5,"created_at":"2022-12-09T11:11:40.590-05:00","updated_at":"2026-04-14T14:45:20.771-04:00","block_editor":{"data":{"id":"3627","type":"block_editor","attributes":{"id":3627,"exhibition_id":1033,"page_id":null,"created_at":"2025-06-16T12:38:15.930-04:00","updated_at":"2025-06-16T12:38:15.930-04:00","regions":[{"data":{"id":"22225","type":"region","attributes":{"id":22225,"position":1,"columns":12,"block_editor_id":3627,"created_at":"2025-02-19T09:52:05.156-05:00","updated_at":"2026-04-14T14:45:20.655-04:00","region_components":[{"data":{"id":"40513","type":"region_component","attributes":{"id":40513,"component_id":14754,"component_type":"TextComponent","position":1,"region_id":22225,"created_at":"2025-02-19T09:52:05.164-05:00","updated_at":"2026-04-14T14:45:20.663-04:00","component":{"data":{"id":"14754","type":"component","attributes":{"id":14754,"exhibition_id":1033,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAmelia Winger-Bearskin\u003c/strong\u003e (b. 1979) is an artist who uses artificial intelligence to make a positive impact on communities and the environment. She is the founder of the AI Climate Justice Lab and the Talk to Me About Water collective. Winger-Bearskin’s award-winning podcast Wampum.Codes explores an ethical framework for software development based on Indigenous values of co-creation. In 2022 she was awarded a Sundance Art Of Practice Fellowship for her project \u003cem\u003eSKY WORLD/CLOUD WORLD\u003c/em\u003e. In 2018 she served as a delegate at the summit “Fostering Universal Ethics and Compassion through Museums” hosted by the Dalai Lama in Dharamsala, India. Winger-Bearskin is a Banks Family Preeminence Chair of Artificial Intelligence and the Arts at the Digital Worlds Institute at the University of Florida. She is Haudenosaunee (Iroquois) and an enrolled member of the Seneca-Cayuga Nation of Oklahoma, Deer Clan, on her mother’s side and Jewish/Baháa’í on her late father’s side.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1311","type":"exhibition","attributes":{"id":1311,"title":"Attilio Salemme Retrospective","start_time":"1959-04-14T00:00:00.000-05:00","end_time":"1959-05-30T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/attilio-salemme-retrospective","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":"","popularity":0.04276315789473684,"created_at":"2024-02-28T10:09:49.454-05:00","updated_at":"2025-06-16T12:38:24.922-04:00","block_editor":{"data":{"id":"4097","type":"block_editor","attributes":{"id":4097,"exhibition_id":1311,"page_id":null,"created_at":"2025-06-16T12:38:24.917-04:00","updated_at":"2025-06-16T12:38:24.917-04:00","regions":[]}}}}},{"id":"350","type":"exhibition","attributes":{"id":350,"title":"1955 Annual Exhibition of Contemporary American Painting","start_time":"1955-11-09T00:00:00.000-05:00","end_time":"1956-01-08T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/annual-1955-2","primary_text":"\u003cp class=\"large\"\u003eView the full exhibition catalogue at the \u003ca href=\"https://archive.org/details/1955annualwhit\" \u003eInternet Archive\u003c/a\u003e.\u003c/p\u003e","primary_media_id":41612,"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 show as a whole is perhaps the most glamorous in effect that the Whitney has ever staged.” —\u003ca href=\"https://www.nytimes.com/1955/11/09/archives/abstract-paintings-dominate-annual-whitney-show-of-american-work.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“If there are few surprises and still fewer masterpieces present, and if the inventory is not a wholly heartening one, this year’s selected crop of 165 is by no means without interest.” —\u003ca href=\"https://www.nytimes.com/1955/11/13/archives/painting-roundup-whitney-museum-opens-its-big-annual-of.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,"popularity":0.19078947368421054,"created_at":"2019-03-05T19:01:19.802-05:00","updated_at":"2025-06-16T12:35:36.555-04:00","block_editor":{"data":{"id":"2549","type":"block_editor","attributes":{"id":2549,"exhibition_id":350,"page_id":null,"created_at":"2025-06-16T12:35:36.550-04:00","updated_at":"2025-06-16T12:35:36.550-04:00","regions":[]}}}}},{"id":"1231","type":"exhibition","attributes":{"id":1231,"title":"Selections from the Permanent Collection","start_time":"1949-11-05T00:00:00.000-05:00","end_time":"1949-12-11T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/permanent-collection-1949-2","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":"","popularity":0.04276315789473684,"created_at":"2024-01-19T22:22:15.571-05:00","updated_at":"2025-06-16T12:38:23.473-04:00","block_editor":{"data":{"id":"3945","type":"block_editor","attributes":{"id":3945,"exhibition_id":1231,"page_id":null,"created_at":"2025-06-16T12:38:23.467-04:00","updated_at":"2025-06-16T12:38:23.467-04:00","regions":[]}}}}},{"id":"2411","type":"exhibition","attributes":{"id":2411,"title":"Recent Acquisitions from the Permanent Collection: Part 1","start_time":"2000-02-26T00:00:00.000-05:00","end_time":"2000-05-21T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/recent-acquisitions-from-the-permanent-collection","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eRecent Acquisitions from the Permanent Collection: Part 1\u003c/em\u003e was curated by Sylvia Wolf.\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,"popularity":0.046052631578947366,"created_at":"2026-01-06T13:18:59.808-05:00","updated_at":"2026-01-06T13:18:59.808-05:00","block_editor":{"data":null}}},{"id":"347","type":"exhibition","attributes":{"id":347,"title":"1957 Annual Exhibition: Sculpture, Paintings, Watercolors","start_time":"1957-11-20T00:00:00.000-05:00","end_time":"1958-01-12T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/annual-1957","primary_text":"\u003cp class=\"large\"\u003eView the full exhibition catalogue at the \u003ca href=\"https://archive.org/details/1957annualwhit\" \u003eInternet Archive\u003c/a\u003e.\u003c/p\u003e","primary_media_id":41609,"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“While there is as always sterling work both in abstract and representational fields in the Whitney show, there also are some canvases making a dubious contribution—either because they have little to offer beyond size and initial impact, or because they offer little except experiment in sheer technique, or because they are just too much like a great deal that has been seen before . . .” —\u003ca href=\"https://www.nytimes.com/1957/11/24/archives/choosing-shows-whitney-annual-raises-the-question-of-the-basis-of.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“The increase [in size of the exhibition], however, is limited [. . .] to size rather than to quality in general; for while there are, as usual, some fine things in the show, the dominant extreme abstract work in the painting section presents little that is new, sensitive, sure and much that is too much alike, over-large, brash and tending toward mere decorative use of color.” —\u003ca href=\"https://www.nytimes.com/1957/11/20/archives/art-another-whitney-annual-opens-museum-show-held-bigger-not-better.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,"popularity":0.20394736842105263,"created_at":"2019-03-05T18:56:15.862-05:00","updated_at":"2025-06-16T12:35:28.564-04:00","block_editor":{"data":{"id":"2543","type":"block_editor","attributes":{"id":2543,"exhibition_id":347,"page_id":null,"created_at":"2025-06-16T12:35:28.559-04:00","updated_at":"2025-06-16T12:35:28.559-04:00","regions":[]}}}}},{"id":"1420","type":"exhibition","attributes":{"id":1420,"title":"Amy Sherald: Four Ways of Being","start_time":"2025-03-25T00:00:00.000-04:00","end_time":"2026-02-17T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/amy-sherald-four-ways-of-being","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\u003cem\u003eFour Ways of Being\u003c/em\u003e is a\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003enewly commissioned work by \u003ca href=\"/artists/19808\"\u003eAmy Sherald\u003c/a\u003e (b. 1973, Columbus, Georgia; lives and works in the New York City area). The artwork is comprised of four portraits by the artist—some never before seen in New York—and explores the intersection of past, present, and future. Each painting captures a distinct way of existing in the world. Here, she reimagines her subjects from diverse backgrounds and generations coexisting in a shared moment, inviting the viewer to contemplate the fluidity of time and the complex ways our histories shape our understanding of ourselves.\u003c/p\u003e\u003cp class=\"large\"\u003eThis installation is presented in conjunction with \u003ca href=\"/exhibitions/amy-sherald\"\u003e\u003cem\u003eAmy Sherald: American Sublime\u003c/em\u003e\u003c/a\u003e.\u003c/p\u003e\u003cp\u003e\u003cem\u003eAmy Sherald: Four Ways of Being\u0026nbsp;\u003c/em\u003eis organized by Rujeko Hockley, Arnhold Associate Curator, with David Lisbon, Curatorial Assistant.\u003c/p\u003e\u003cp\u003eThis work is part of a series of public art installations organized by the Whitney in partnership with TF Cornerstone and High Line Art.\u003c/p\u003e\u003cp\u003e\u003cem\u003eAmy Sherald: Four Ways of Being\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.\u003c/p\u003e","primary_media_id":61287,"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":0.6513157894736842,"created_at":"2025-01-08T10:00:37.400-05:00","updated_at":"2026-07-13T17:58:02.585-04:00","block_editor":{"data":{"id":"4229","type":"block_editor","attributes":{"id":4229,"exhibition_id":1420,"page_id":null,"created_at":"2025-06-16T12:38:29.145-04:00","updated_at":"2025-06-16T12:38:29.145-04:00","regions":[]}}}}},{"id":"1197","type":"exhibition","attributes":{"id":1197,"title":"A History of American Watercolor Painting","start_time":"1942-01-27T00:00:00.000-05:00","end_time":"1942-02-25T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/history-of-american-watercolor","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":"","popularity":0.06907894736842106,"created_at":"2024-01-19T16:42:00.216-05:00","updated_at":"2025-06-16T12:38:22.923-04:00","block_editor":{"data":{"id":"3877","type":"block_editor","attributes":{"id":3877,"exhibition_id":1197,"page_id":null,"created_at":"2025-06-16T12:38:22.918-04:00","updated_at":"2025-06-16T12:38:22.918-04:00","regions":[]}}}}},{"id":"1912","type":"exhibition","attributes":{"id":1912,"title":"Frameworks","start_time":"1978-04-19T00:00:00.000-05:00","end_time":"1978-05-24T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/frameworks","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eFrameworks\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,"popularity":0.03618421052631579,"created_at":"2025-01-17T14:18:43.643-05:00","updated_at":"2026-01-06T13:17:42.482-05:00","block_editor":{"data":{"id":"5199","type":"block_editor","attributes":{"id":5199,"exhibition_id":1912,"page_id":null,"created_at":"2025-06-16T12:38:35.748-04:00","updated_at":"2025-06-16T12:38:35.748-04:00","regions":[]}}}}},{"id":"332","type":"exhibition","attributes":{"id":332,"title":"Whitney Biennial 1973: Contemporary American Art","start_time":"1973-01-10T00:00:00.000-05:00","end_time":"1973-03-18T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/biennial-1973","primary_text":"\u003cp class=\"large\"\u003eView the full exhibition catalogue at the \u003ca href=\"https://archive.org/details/1973biennialexhi\"\u003eInternet Archive\u003c/a\u003e.\u003c/p\u003e","primary_media_id":41594,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2165,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“The old Whitney annuals used to alternate between painting and sculpture on alternate years, but the new art styles employing new media [. . .] do not permit such hard-and-fast categorization.” —\u003ca href=\"https://www.proquest.com/historical-newspapers/art-first-part-whitney-biennial/docview/119719681/se-2\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“The Whitney, ever yearning to get with it, has tried to give us a playground—that is exactly what the biennial suggests, a kind of mail-order jungle gym—but we’ve outgrown it.” —\u003ca href=\"https://www.proquest.com/historical-newspapers/art/docview/119698892/se-2\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“. . . the entire exhibition space is now filled to the top with the works of art, near-art, non-art, anti-art, pseudo-art and you-name-it that make up this survey of what is going on just now.” —\u003ca href=\"https://www.nytimes.com/1973/01/25/archives/art-final-part-of-whitney-biennial.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“. . . an energetic attempt to encompass a broad spectrum of styles and methods and ideas—particularly the new ideas—that now determine the forms that art is given, and the exhibition does succeed in embracing a great diversity of statement.” —\u003ca href=\"https://www.nytimes.com/1973/01/20/archives/second-part-of-whitney-show-opens.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“We should not be surprised [. . .] that the Whitney show—which fills all five floors of the museum—takes a sort of liberal, all-things-to-all-men attitude toward the current art scene.” —\u003ca href=\"https://www.nytimes.com/1973/02/04/archives/a-nostalgia-for-the-fifties.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":"","videos_description":"","popularity":0.555921052631579,"created_at":"2019-03-05T18:33:09.569-05:00","updated_at":"2025-06-16T12:34:59.538-04:00","block_editor":{"data":{"id":"2513","type":"block_editor","attributes":{"id":2513,"exhibition_id":332,"page_id":null,"created_at":"2025-06-16T12:34:59.533-04:00","updated_at":"2025-06-16T12:34:59.533-04:00","regions":[]}}}}},{"id":"380","type":"exhibition","attributes":{"id":380,"title":"1938 Annual Exhibition of Contemporary American Sculpture, Watercolors, Drawings and Prints","start_time":"1938-03-08T00:00:00.000-05:00","end_time":"1938-04-10T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/annual-1938-1","primary_text":"\u003cp class=\"large\"\u003eView the full exhibition catalogue at the \u003ca href=\"https://archive.org/details/1938annual00whit\" \u003eInternet Archive\u003c/a\u003e.\u003c/p\u003e","primary_media_id":41643,"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“In [works of outstanding excellence] the current show does not abound, yet of them it is not altogether bereft.” —\u003ca href=\"https://www.nytimes.com/1938/03/13/archives/annual-at-the-whitney-exhibition-raises-ponderings-on-the-state-of.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,"popularity":0.18092105263157895,"created_at":"2019-03-05T19:33:06.642-05:00","updated_at":"2025-06-16T12:37:02.502-04:00","block_editor":{"data":{"id":"2609","type":"block_editor","attributes":{"id":2609,"exhibition_id":380,"page_id":null,"created_at":"2025-06-16T12:37:02.497-04:00","updated_at":"2025-06-16T12:37:02.497-04:00","regions":[]}}}}},{"id":"1873","type":"exhibition","attributes":{"id":1873,"title":"Myron Stout","start_time":"1980-02-05T00:00:00.000-05:00","end_time":"1980-04-06T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/myron-stout","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eMyron Stout\u003c/em\u003e was curated by Sanford Schwartz.\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,"popularity":0.039473684210526314,"created_at":"2025-01-17T14:18:39.921-05:00","updated_at":"2026-01-06T13:17:49.314-05:00","block_editor":{"data":{"id":"5123","type":"block_editor","attributes":{"id":5123,"exhibition_id":1873,"page_id":null,"created_at":"2025-06-16T12:38:35.262-04:00","updated_at":"2025-06-16T12:38:35.262-04:00","regions":[]}}}}},{"id":"1832","type":"exhibition","attributes":{"id":1832,"title":"Philip Guston","start_time":"1981-06-30T00:00:00.000-04:00","end_time":"1981-09-13T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/philip-guston","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003ePhilip Guston\u003c/em\u003e was organized by the San Francisco Museum of Modern Art.\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,"popularity":0.039473684210526314,"created_at":"2025-01-17T14:18:36.259-05:00","updated_at":"2026-01-06T13:17:55.243-05:00","block_editor":{"data":{"id":"5043","type":"block_editor","attributes":{"id":5043,"exhibition_id":1832,"page_id":null,"created_at":"2025-06-16T12:38:34.784-04:00","updated_at":"2025-06-16T12:38:34.784-04:00","regions":[]}}}}},{"id":"50","type":"exhibition","attributes":{"id":50,"title":"Taryn Simon: An American Index of the Hidden and Unfamiliar","start_time":"2007-03-09T00:00:00.000-05:00","end_time":"2007-06-24T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/taryn-simon","primary_text":"\u003cp class=\"large\"\u003eFor this project, artist Taryn Simon (b. 1975) assumes the dual role of shrewd informant and collector of curiosities, compiling an inventory of what lies hidden and out-of-view within the borders of the United States. She examines a culture through careful documentation of diverse subjects from across the realms of science, government, medicine, entertainment, nature, security, and religion. Transforming the unknown into a seductive and intelligible form, Simon confronts the divide between those with and without the privilege of access. Her sometimes ethereal, sometimes foreboding compositions, shot with a large-format view camera whenever conditions allowed, vary as much as her subject matter, which ranges from radioactive capsules at a nuclear waste storage facility to a black bear in hibernation. Offering visions of the unseen, the photographs of\u0026nbsp;\u003cem\u003eAn American Index\u003c/em\u003e\u0026nbsp;capture the strange magic at the foundation of a national identity.\u003c/p\u003e","primary_media_id":3190,"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":null,"videos_description":null,"popularity":0.5328947368421053,"created_at":"2017-04-03T12:46:33.000-04:00","updated_at":"2025-06-16T12:34:04.706-04:00","block_editor":{"data":{"id":"2103","type":"block_editor","attributes":{"id":2103,"exhibition_id":50,"page_id":null,"created_at":"2025-06-16T12:34:04.701-04:00","updated_at":"2025-06-16T12:34:04.701-04:00","regions":[]}}}}}],"meta":{"total":1623},"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=55\u0026q%5Bs%5D=random"}}