{"data":[{"id":"1388","type":"exhibition","attributes":{"id":1388,"title":"Amy Sherald: American Sublime","start_time":"2025-04-09T00:00:00.000-04:00","end_time":"2025-08-10T00:00:00.000-04:00","member_start_time":"2025-04-03T00:00:00.000-04:00","member_end_time":"2025-04-07T00:00:00.000-04:00","date_override":"","url":"/exhibitions/amy-sherald","primary_text":"\u003cp class=\"large\"\u003e\u003cstrong\u003e\u003cstrong\u003eThis exhibition includes a\u0026nbsp;\u003c/strong\u003e\u003ca href=\"/exhibitions/amy-sherald-four-ways-of-being\"\u003e\u003cstrong\u003ebillboard\u003c/strong\u003e\u003c/a\u003e\u003cstrong\u003e\u0026nbsp;across from the Museum’s entrance on Gansevoort Street.\u003c/strong\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/19808\"\u003eAmy Sherald\u003c/a\u003e is a storyteller. She creates precisely crafted narratives of American life, selecting, styling, and photographing her sitters as the foundation for her nuanced paintings. Thus, while Sherald (b. 1973; Columbus, Georgia) bases her works on specific people, they are more than traditional portraits. They center everyday Black Americans, compelling in their individuality and extraordinary in their ordinariness, inviting viewers to step into Sherald’s imagined worlds. In this exhibition, paintings of such ordinary Americans join her iconic portraits of First Lady Michelle Obama and, heartbreakingly, Breonna Taylor, to produce a resonant ode to the multiplicity and complexity of American identity.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eSherald also makes the images she wants to see in the world. Although she considers herself an inheritor of the American Realist tradition of artists such as \u003ca href=\"/artists/621\"\u003eEdward Hopper\u003c/a\u003e—a genre that was central to the Whitney’s origins nearly a century ago—those artists focused on the lives of everyday white Americans. Instead, Sherald privileges a population that has historically been omitted from art history and wider visual representation. By doing so, she challenges us to think more broadly about American Realism, suggesting an additional lineage for it: one born from the art departments and galleries of Historically Black Colleges and Universities (HBCUs), where she first trained as an artist, and one that includes such underrecognized figures as \u003ca href=\"/artists/4355\"\u003eWilliam H. Johnson\u003c/a\u003e, \u003ca href=\"/artists/16503\"\u003eArchibald Motley\u003c/a\u003e, and Laura Wheeler Waring, among others.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eAcross \u003cem\u003eAmy Sherald: American Sublime\u003c/em\u003e, Sherald’s contemplative subjects appear most concerned with their own interiority, prioritizing their own peace and self-realization over how others might perceive them and the shackles of history, though they are inevitably impacted by both. Her audacious project highlights what she has called the “wonder of what it is to be a Black American,” rendering a rich and unconstrained Black world in vibrant Technicolor.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eAmy Sherald: American Sublime\u003c/em\u003e is organized by San Francisco Museum of Modern Art. This exhibition is curated by Sarah Roberts, former Andrew W. Mellon Curator and Head of Painting and Sculpture at SFMOMA. The presentation at the Whitney Museum of American Art is organized by Rujeko Hockley, Arnhold Associate Curator with David Lisbon, curatorial assistant.\u003c/p\u003e\u003cp\u003e\u003cem\u003eAmy Sherald: American Sublime\u0026nbsp;\u003c/em\u003eis sponsored by\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003e\u0026nbsp;\u003cimg src=\"https://whitneymedia.org/assets/image/824959/bofa_lo1_rgb_Digital.png\" style=\" height: 26px;\"\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824938/large_Delta_c_r__2_.jpg\" style=\" height: 20px;\"\u003e\u003c/p\u003e\u003cp\u003eMajor support is provided by\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/830693/large_Ford-single-black.jpg\" style=\"height: 20px;\"\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eMajor support is also provided by Judy Hart Angelo, Nancy and Steve Crown, Agnes Gund, Hauser \u0026amp; Wirth, the Kapadia Equity Fund, The KHR McNeely Family Foundation | Kevin, Rosemary, and Hannah Rose McNeely, Nancy and Fred Poses, and Anne-Cecilie Engell Speyer and Rob Speyer.\u003c/p\u003e\u003cp\u003eSignificant support is provided by Marcia Dunn and Jonathan Sobel, The Holly Peterson Foundation, and Dana Su Lee.\u003c/p\u003e\u003cp\u003eGenerous support is provided by Sarah Arison, Alexandre and Lori Chemla, John and Amy Griffin Foundation, Ashley Leeds and Christopher Harland, Deepa Kumaraiah and Sean Dempsey, McCallum Family, Jonathan M. Rozoff, Todd White and Cameron Carani, and an anonymous donor.\u003c/p\u003e\u003cp\u003eAdditional support is provided by Suzanne and Bob Cochran, Sheree and Jerry Friedman, Barbara and Michael Gamson, the Girlfriend Fund, Alice and Manu Sareen, Barbara Karp Shuster, and George Wells and Manfred Rantner.\u003c/p\u003e\u003cp\u003e\u003cem\u003eNew York\u003c/em\u003e magazine is the exclusive media sponsor.\u003c/p\u003e","primary_media_id":59372,"override_media_id":null,"sign_media_id":null,"feature_id":102,"artwork_series_id":null,"installation_series_id":2643,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2024-07-11T16:20:01.133-04:00","updated_at":"2026-03-24T14:58:27.876-04:00","block_editor":{"data":{"id":"4181","type":"block_editor","attributes":{"id":4181,"exhibition_id":1388,"page_id":null,"created_at":"2025-06-16T12:38:26.342-04:00","updated_at":"2025-06-16T12:38:26.342-04:00","regions":[]}}}}},{"id":"1405","type":"exhibition","attributes":{"id":1405,"title":"Jeanne Moutoussamy-Ashe and the Last Gullah Islands","start_time":"2024-12-05T00:00:00.000-05:00","end_time":"2025-05-01T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/jeanne-moutoussamy-ashe-last-gullah-islands","primary_text":"\u003cp class=\"large\"\u003eSince the early 1970s, artist, activist, and scholar \u003ca href=\"/artists/7729\"\u003eJeanne Moutoussamy-Ashe\u003c/a\u003e (b. 1951, Chicago, IL; lives and works in South Kent, CT) has made photographs that testify to the beauty and complexity of Black life, honoring the rhythms of the everyday and marking important rites of passage for the people who appear in them.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eIn 1977, following an earlier six-month independent study in West Africa, Moutoussamy-Ashe traveled back across the Atlantic Ocean to Daufuskie Island, which sits between Hilton Head, South Carolina, and Savannah, Georgia. There and on the other surrounding Sea Islands, she began making photographs among the Gullah Geechee—many of them descendants of the formerly enslaved people who acquired land from white plantation owners when they fled at the conclusion of the Civil War. For Moutoussamy-Ashe, these places, separated by the Atlantic, were inextricably linked, with the Sea Islands representing connective tissue within the Black diaspora; a place shaped by violent centuries of slavery and a community steadfast in the protection and nourishment of its unique culture and people. The Daufuskie Island photographs honor these entwined histories and the artist’s personal perspective. How images are made, cared for, and consumed are enduring concerns for the artist, who maintains, “Photography should force us to question ourselves and to question the environment in which we live.”\u003c/p\u003e\u003cp class=\"large\"\u003eDrawn from the Whitney’s collection, this focused presentation includes a selection of Moutoussamy-Ashe’s black-and-white Daufuskie Island photographs and the artist’s related publications. Portraits of children and elders, images of homes and the shoreline, people at work and at rest, and church services together form an impression of a community—and a place—on the cusp of great change.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eJeanne Moutoussamy-Ashe and the Last Gullah Islands\u003c/em\u003e is organized by Kelly Long, Senior Curatorial Assistant.\u003c/p\u003e","primary_media_id":60642,"override_media_id":null,"sign_media_id":60643,"feature_id":100,"artwork_series_id":null,"installation_series_id":2636,"perspective_series_id":null,"press_highlights":"","audio_description":"\u003cp\u003eBuilt in collaboration with the artist, this playlist includes Gullah Geechee voices, Black spirituals, blues, and southern folk music that together evoke the South Carolina and Georgia Lowcountry of the past and present.\u0026nbsp;\u003c/p\u003e","videos_description":"","created_at":"2024-09-19T09:56:12.463-04:00","updated_at":"2026-03-24T17:19:57.696-04:00","block_editor":{"data":{"id":"4205","type":"block_editor","attributes":{"id":4205,"exhibition_id":1405,"page_id":null,"created_at":"2025-06-16T12:38:28.841-04:00","updated_at":"2025-06-16T12:38:28.841-04:00","regions":[{"data":{"id":"22268","type":"region","attributes":{"id":22268,"position":1,"columns":6,"block_editor_id":4205,"created_at":"2025-02-19T09:52:08.084-05:00","updated_at":"2026-03-24T17:19:57.594-04:00","region_components":[{"data":{"id":"41097","type":"region_component","attributes":{"id":41097,"component_id":106,"component_type":"JumplinkComponent","position":1,"region_id":22268,"created_at":"2025-06-17T10:05:12.053-04:00","updated_at":"2026-03-24T17:19:57.605-04:00","component":{"data":{"id":"106","type":"component","attributes":{"id":106,"exhibition_id":1405,"text":"Book"}}}}}},{"data":{"id":"40585","type":"region_component","attributes":{"id":40585,"component_id":14792,"component_type":"TextComponent","position":2,"region_id":22268,"created_at":"2025-02-19T09:52:08.095-05:00","updated_at":"2026-03-24T17:19:57.616-04:00","component":{"data":{"id":"14792","type":"component","attributes":{"id":14792,"exhibition_id":1405,"text":"\u003ch3\u003eGullah Days: Hilton Head Islanders Before the Bridge 1861-1956\u003c/h3\u003e\u003cp class=\"large\"\u003eThe three authors of \u003cem\u003eGullah Days: Hilton Head Islanders Before the Bridge 1861-1956\u003c/em\u003e are descendants of Gullah people, and in this book, they chronicle the amazing history of their secluded community from the Civil War through the 1950s, when real estate development connected Hilton Head Island to the mainland with a bridge.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"https://shop.whitney.org/products/gullah-days-hilton-head-islanders-before-the-bridge-1861-1956\" class=\"btn\"\u003eView in the shop\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"22269","type":"region","attributes":{"id":22269,"position":2,"columns":6,"block_editor_id":4205,"created_at":"2025-02-19T09:52:08.117-05:00","updated_at":"2026-03-24T17:19:57.624-04:00","region_components":[{"data":{"id":"40586","type":"region_component","attributes":{"id":40586,"component_id":13960,"component_type":"MediaComponent","position":1,"region_id":22269,"created_at":"2025-02-19T09:52:08.123-05:00","updated_at":"2026-03-24T17:19:57.632-04:00","component":{"data":{"id":"13960","type":"component","attributes":{"id":13960,"exhibition_id":1405,"media_id":62132,"url":"https://shop.whitney.org/products/gullah-days-hilton-head-islanders-before-the-bridge-1861-1956"}}}}}}]}}}]}}}}},{"id":"630","type":"exhibition","attributes":{"id":630,"title":"Lovely Life: The Recent Works of Agnes Martin","start_time":"2000-10-01T00:00:00.000-04:00","end_time":"2000-10-29T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/lovely-life-agnes-martin","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eLovely Life: The Recent Works of Agnes Martin\u003c/em\u003e was curated by Marla Prather.\u003c/p\u003e","primary_media_id":48677,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2407,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2020-08-14T14:48:37.179-04:00","updated_at":"2025-06-16T12:37:40.568-04:00","block_editor":{"data":{"id":"3005","type":"block_editor","attributes":{"id":3005,"exhibition_id":630,"page_id":null,"created_at":"2025-06-16T12:37:40.563-04:00","updated_at":"2025-06-16T12:37:40.563-04:00","regions":[]}}}}},{"id":"82","type":"exhibition","attributes":{"id":82,"title":"Off the Wall: Part 2—Seven Works by Trisha Brown","start_time":"2010-09-30T00:00:00.000-04:00","end_time":"2010-10-03T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/off-the-wall-part-2","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eOff the Wall: Part 2:\u0026nbsp;\u003c/em\u003e\u003cem\u003eSeven Works by Trisha Brown\u003c/em\u003e, features the Trisha Brown Dance Company, on the occasion of the company’s fortieth anniversary, performing iconic works from the 1970s, including the spectacular\u0026nbsp;\u003cem\u003eWalking on the Wall\u003c/em\u003e, originally performed at the Whitney in 1971; performance films and a sound installation, \u003cem\u003eSkymap\u003c/em\u003e, will also be on view. Works will be performed daily from September 30 through October 3, 2010, in the Second Floor Galleries, Sculpture Court, and outside the Whitney Museum of American Art on East 75th Street. Planned performances include\u0026nbsp;\u003cem\u003eM\u003c/em\u003e\u003cem\u003ean Walking Down the Side of a Building\u003c/em\u003e, \u003cem\u003eFalling Duet I\u003c/em\u003e,\u0026nbsp;\u003cem\u003eLeaning Duets I\u0026nbsp;\u003c/em\u003eand\u003cem\u003e\u0026nbsp;II\u003c/em\u003e, \u003cem\u003eSpanish Dance\u003c/em\u003e,\u0026nbsp;\u003cem\u003eFloor of the Forest\u003c/em\u003e, and the sound installation\u0026nbsp;\u003cem\u003eSkymap\u003c/em\u003e.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eOff the Wall:\u0026nbsp;\u003c/em\u003e\u003cem\u003eThirty Performative Actions\u003c/em\u003e, focuses on actions using the body in live performance, in front of the camera, or in relation to a photographic or printed surface, or drawing. Each action displaces the site of the artwork from an object to the body, acting in relation to, or directly onto, the physical space of the gallery. The wall and floor become the stage for these actions: walking on the wall, slamming doors, slapping hands against the wall, gathering sawdust up from the studio floor, walking on a painting, striding and crawling around a small cylindrical space, writing or drawing on the wall and floor, or performing a striptease behind the transparent plane of Duchamp’s \u003cem\u003eLarge Glass\u003c/em\u003e. The exhibition also includes a number of works that reveal the underlying theatricality of the performative action and the ways in which artists stage the self in images that question conventions of identity, gender, and the body.\u003c/p\u003e\u003cp class=\"large\"\u003eThe exhibition includes the re-performance of iconic early works by John Baldessari and Yoko Ono, as well as recent works by young artists. It includes work by Vito Acconci, Carl Andre, John Baldessari, Jonathan Borofsky, John Coplans, Jimmy DeSana, Trisha Donnelly, Simone Forti, Dara Friedman, David Hammons, Lyle Ashton Harris, Jenny Holzer, Peter Hujar, Joan Jonas, Robert Longo, Nate Lowman, Robert Mapplethorpe, Paul MCarthy, Robert Morris, Bruce Nauman, Yoko Ono, Dennis Oppenheim, Yvonne Rainer, Martha Rosler, David Salle, Lucas Samaras, Carolee Schneemann, Richard Serra, Cindy Sherman, Laurie Simmons, Andy Warhol, Carrie Mae Weems, Hannah Wilke, Jordan Wolfson, and Francesca Woodman.\u003c/p\u003e\u003cp class=\"large\"\u003ePart 1 is curated by Chrissie Iles, the Whitney’s Anne \u0026amp; Joel Ehrenkranz Curator. Part 2 is curated by Limor Tomer, the Whitney’s adjunct curator of performing arts.\u003c/p\u003e","primary_media_id":3715,"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\u003eReview: “At Edge of Whitney, Touching the Void”\u003cbr\u003e—\u003ca href=\"http://www.nytimes.com/2010/10/02/arts/dance/02trisha.html\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eReview:\u0026nbsp;\u003cem\u003e“\u003c/em\u003eEach dance was formally stunning, with exceedingly controlled movements and lovely manipulations of gesture”\u003cbr\u003e—\u003ca href=\"http://de.blouinartinfo.com/news/story/278146/trisha-brown-sends-her-dancers-up-the-wall-at-the-whitney\"\u003e\u003cem\u003eArtInfo\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eVideo: “At 5 p.m. on Wednesday, a camera-phone-wielding crowd gathered at the corner of Madison Avenue and 75th Street as a man on the roof of the Whitney Museum prepared to go off it.”\u003cbr\u003e—\u003ca href=\"http://tmagazine.blogs.nytimes.com/2010/10/01/artifacts-trisha-brown-off-the-wall/\"\u003e\u003cem\u003eT Magazine/The New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eLaurie Anderson,\u0026nbsp;Mikhail Baryshnikov,\u0026nbsp;Stephen Petronio,\u0026nbsp;Elizabeth Streb,\u0026nbsp;and Terry Winters, share their thoughts on Trisha Brown\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nytimes.com/slideshow/2010/09/24/arts/dance/26brownweb.html\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003e“\u003c/em\u003eWalking on the Walls of the Whitney Museum”\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.vogue.com/culture/article/trisha-brown-walking-on-the-walls-of-the-whitney-museum/\"\u003eVogue\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“The Bricklayer’s Apprentice: A Q\u0026amp;amp;A With Trisha Brown Protégé Lee Serle”\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.artinfo.com/news/story/35925/the-bricklayers-apprentice-a-qa-with-trisha-brown-protg-lee-serle/\"\u003eArtInfo\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e","audio_description":"","videos_description":"","created_at":"2017-04-03T12:46:49.000-04:00","updated_at":"2025-06-16T12:34:09.881-04:00","block_editor":{"data":{"id":"2153","type":"block_editor","attributes":{"id":2153,"exhibition_id":82,"page_id":null,"created_at":"2025-06-16T12:34:09.872-04:00","updated_at":"2025-06-16T12:34:09.872-04:00","regions":[{"data":{"id":"22887","type":"region","attributes":{"id":22887,"position":1,"columns":12,"block_editor_id":2153,"created_at":"2025-05-19T18:10:22.695-04:00","updated_at":"2025-05-19T18:13:50.233-04:00","region_components":[{"data":{"id":"41756","type":"region_component","attributes":{"id":41756,"component_id":15121,"component_type":"TextComponent","position":1,"region_id":22887,"created_at":"2025-05-19T18:10:44.575-04:00","updated_at":"2025-05-19T18:13:50.240-04:00","component":{"data":{"id":"15121","type":"component","attributes":{"id":15121,"exhibition_id":82,"text":"\u003ch2\u003eSkymap\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003cem\u003eSkymap\u003c/em\u003e was first heard at the Whitney in 1971 during Trisha Brown's performance \"Another Fearless Dance Concert\", which also featured the premiere of \"Walking on the Walls,\" the centerpiece of \u003cem\u003eOff the Wall: Part 2—Seven Works by Trisha Brown\u003c/em\u003e, alongside several other works. Trisha Brown on her sound installation, Skymap: \"I had performed on the walls, the floor, and at eye level. I knew that the ceiling was next, but I just couldn't bring myself to enter into that kind of physical training with that kind of danger below. I sent words up there instead.\"\u003c/p\u003e\u003cp class=\"large\"\u003eIn the program for the evening Trisha provided the following instructions for her audience: \u003cem\u003eRecommended position for audience is lying on the floor on back\u003c/em\u003e.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eDownload the archival brochure\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://whitneymedia.org/assets/generic_file/191/another_fearless_dance_concert_materials.pdf\"\u003eDownload PDF\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eListen to Skymap\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://whitneymedia.org/assets/audio/2047/01_skymap.mp3\"\u003eDownload MP3\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"267","type":"exhibition","attributes":{"id":267,"title":"ecoarttech: Untitled Landscape #5","start_time":"2009-11-12T00:00:00.000-05:00","end_time":"2010-03-30T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/ecoarttech","primary_text":"\u003cp class=\"large\"\u003eFirst in the series of commissions is \u003cem\u003eUntitled Landscape #5\u003c/em\u003e, a project by the collaborative \u003ca href=\"/artists/12350\"\u003eecoarttech\u003c/a\u003e, (Cary Peppermint and Christine Nadir). At sunrise and sunset, fluctuating orbs of light disrupt the “digital landscape,” and the information environment of whitney.org is disordered by ecoarttech’s visuals, suggesting a natural phenomenon. The size and speed of the orbs will vary based on the number of visitors to whitney.org since the previous sunrise (for sunset) or sunset (for sunrise); higher visitation results in larger, slower-moving orbs. ecoarttech's work has consistently explored relationships between landscape, technology, and culture, and their commissioned work for whitney.org metaphorically explores the museum's information landscape as it is shaped by its visitors.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"https://ecoarttech.net\" rel=\"noopener noreferrer\"\u003eView ecoarttech’s website\u003c/a\u003e\u003c/p\u003e","primary_media_id":7664,"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":"2018-05-09T17:50:47.000-04:00","updated_at":"2025-07-11T12:11:10.668-04:00","block_editor":{"data":{"id":"2417","type":"block_editor","attributes":{"id":2417,"exhibition_id":267,"page_id":null,"created_at":"2025-06-16T12:34:36.329-04:00","updated_at":"2025-06-16T12:34:36.329-04:00","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":"","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":"1297","type":"exhibition","attributes":{"id":1297,"title":"Bradley Walker Tomlin","start_time":"1957-09-25T00:00:00.000-04:00","end_time":"1957-11-12T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/bradley-walker-tomlin","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eBradley Walker Tomlin\u003c/em\u003e was organized by the Art Galleries, University of California, Los Angeles, in Association with the Whitney Museum of American 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":"","audio_description":"","videos_description":"","created_at":"2024-02-28T09:38:13.238-05:00","updated_at":"2025-06-16T12:38:24.672-04:00","block_editor":{"data":{"id":"4069","type":"block_editor","attributes":{"id":4069,"exhibition_id":1297,"page_id":null,"created_at":"2025-06-16T12:38:24.667-04:00","updated_at":"2025-06-16T12:38:24.667-04:00","regions":[]}}}}},{"id":"1862","type":"exhibition","attributes":{"id":1862,"title":"Louise Nevelson: Atmospheres and Environments","start_time":"1980-05-27T00:00:00.000-04:00","end_time":"1980-09-14T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/louise-nevelson-1980","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eLouise Nevelson: Atmospheres and Environments\u003c/em\u003e was curated by Richard Marshall and Edward Albee.\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":"2025-01-17T14:18:39.000-05:00","updated_at":"2026-01-06T13:17:50.613-05:00","block_editor":{"data":{"id":"5101","type":"block_editor","attributes":{"id":5101,"exhibition_id":1862,"page_id":null,"created_at":"2025-06-16T12:38:35.112-04:00","updated_at":"2025-06-16T12:38:35.112-04:00","regions":[]}}}}},{"id":"1377","type":"exhibition","attributes":{"id":1377,"title":"Survival Piece #5: Portable Orchard ","start_time":"2024-06-29T00:00:00.000-04:00","end_time":"2025-01-05T00:00:00.000-05:00","member_start_time":"2024-06-27T00:00:00.000-04:00","member_end_time":"2024-06-28T00:00:00.000-04:00","date_override":"","url":"/exhibitions/portable-orchard","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eSurvival Piece #5: Portable Orchard\u003c/em\u003e marks the first standalone museum presentation of the fully realized indoor citrus grove conceived and designed in 1972 by artists Helen Mayer Harrison (1927–2018) and Newton Harrison (1932–2022). This project explores the need for a productive and sustainable food system in an imagined future where natural farming practices are obsolete and cannot be taken for granted. Stretching across the Museum’s eighth-floor gallery, this installation of eighteen live citrus trees rooted in self-contained planters with individual lighting systems reflects a survivalist alternative in the face of environmental decline. \u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/19219\"\u003eThe Harrisons\u003c/a\u003e began their decades-long collaboration in the early 1970s, inspired by emerging environmentalist movements and a growing social awareness of the planet’s vulnerable ecosystems. They brought distinct backgrounds in education and sculpture to their shared creative practice and developed an approach to artmaking that was grounded in cross-disciplinary research and yielded projects that served simultaneously as works of art and calls to action. “To survive as a species,” Helen Harrison reflected, “we are going to have to learn how to grow our own food and take care of ourselves at one point or another. So we started looking at what that means.” \u003cem\u003ePortable Orchard\u003c/em\u003e is one of seven Survival Pieces developed by the Harrisons in the early 1970s, each of which proposes an alternative to an existing food production system—from a hog pasture to a shrimp farm. The Harrisons planned for future implementation of these projects by making detailed instruction drawings; the Museum’s recent acquisition of one such drawing was the impetus for this presentation and is on view in the galleries, along with additional archival materials. \u003cem\u003ePortable Orchard\u003c/em\u003e reveals the prescient quality of the Harrisons’ research into food sustainability as well as the successes and failures of artificial systems built to sustain life—issues that are even more relevant today than they were fifty years ago when the project was first conceived.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eSurvival Piece #5: Portable Orchard\u003c/em\u003e is organized by Kim Conaty, Nancy and Steve Crown Family Chief Curator, with Roxanne Smith, Senior Curatorial Assistant.\u003c/p\u003e\u003cp\u003eGenerous support for \u003cem\u003eSurvival Piece #5: Portable Orchard\u003c/em\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003eis provided by Judy Hart Angelo and The Brown Foundation, Inc., of Houston.\u003c/p\u003e\u003cp\u003eMajor support is provided by the Achilles Memorial Fund and the Helen Frankenthaler Foundation.\u003c/p\u003e","primary_media_id":58741,"override_media_id":null,"sign_media_id":59434,"feature_id":94,"artwork_series_id":null,"installation_series_id":2622,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2024-04-01T13:15:34.933-04:00","updated_at":"2026-03-24T17:32:15.149-04:00","block_editor":{"data":{"id":"4165","type":"block_editor","attributes":{"id":4165,"exhibition_id":1377,"page_id":null,"created_at":"2025-06-16T12:38:25.612-04:00","updated_at":"2025-06-16T12:38:25.612-04:00","regions":[]}}}}},{"id":"1505","type":"exhibition","attributes":{"id":1505,"title":"From India to America: New Directions in Indian-American Film \u0026 Video","start_time":"1994-09-21T00:00:00.000-04:00","end_time":"1994-10-16T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/from-india-to-america","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eFrom India to America: New Directions in Indian-American Film \u0026 Video\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":"2025-01-17T14:17:54.967-05:00","updated_at":"2026-01-06T13:18:40.064-05:00","block_editor":{"data":{"id":"4395","type":"block_editor","attributes":{"id":4395,"exhibition_id":1505,"page_id":null,"created_at":"2025-06-16T12:38:30.738-04:00","updated_at":"2025-06-16T12:38:30.738-04:00","regions":[]}}}}},{"id":"680","type":"exhibition","attributes":{"id":680,"title":"Permanent Collection","start_time":"1998-04-04T00:00:00.000-05:00","end_time":"1999-03-28T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/permanent-collection-1998-1","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":"2020-08-14T14:49:23.695-04:00","updated_at":"2026-01-06T13:57:26.046-05:00","block_editor":{"data":{"id":"3103","type":"block_editor","attributes":{"id":3103,"exhibition_id":680,"page_id":null,"created_at":"2025-06-16T12:37:49.694-04:00","updated_at":"2025-06-16T12:37:49.694-04:00","regions":[]}}}}},{"id":"2165","type":"exhibition","attributes":{"id":2165,"title":"The Nazi Drawings by Mauricio Lasansky","start_time":"1967-03-22T00:00:00.000-05:00","end_time":"1967-04-30T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/mauricio-lasansky","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eThe Nazi Drawings by Mauricio Lasansky\u003c/em\u003e was organized by the Philadelphia Museum of 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":"","audio_description":"","videos_description":"","created_at":"2025-01-17T14:19:09.893-05:00","updated_at":"2025-06-16T12:38:39.163-04:00","block_editor":{"data":{"id":"5691","type":"block_editor","attributes":{"id":5691,"exhibition_id":2165,"page_id":null,"created_at":"2025-06-16T12:38:39.158-04:00","updated_at":"2025-06-16T12:38:39.158-04:00","regions":[]}}}}},{"id":"224","type":"exhibition","attributes":{"id":224,"title":"Willa Nasatir","start_time":"2017-07-14T00:00:00.000-04:00","end_time":"2017-10-01T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/willa-nasatir","primary_text":"\u003cp class=\"large\"\u003eThe emerging artist Willa Nasatir (b. 1990) creates photographs routinely informed by a cinematic vocabulary, inspired by the shifting landscape and individuals who inhabit New York, where she works and lives. \u0026nbsp;Nasatir’s compositions routinely function as part-still life, part-portrait (notably without bodies), evoking a surreal otherworldly environment—a realm that’s familiar yet simultaneously difficult to pin down.\u003cbr\u003e\u0026nbsp;\u003cbr\u003eNasatir’s photographs begin as makeshift sculptures, quickly assembled in her studio from an array of unexpected, disparate objects ranging from decorative fans to a car headlight. She alters and combines these found objects, which she photographs and re-photographs, subjecting the surfaces to dramatic material and light effects. The resulting works are hand-manipulated images that become psychologically charged and difficult to discern; the viewer is left to parse out unresolved narratives that the image only implies.\u003cbr\u003e\u003cbr\u003eFor this exhibition, Nasatir presents a significant new body of work in addition to a selection of earlier works, produced over the past few years.\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition is organized by Jane Panetta, Associate Curator.\u003c/p\u003e\u003cp\u003eGenerous support for \u003cem\u003eWilla Nasatir\u003c/em\u003e\u0026nbsp;is provided by Jackson Tang.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cbr\u003e\u003c/p\u003e","primary_media_id":2646,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":1886,"perspective_series_id":null,"press_highlights":"","audio_description":null,"videos_description":null,"created_at":"2017-05-01T13:45:40.000-04:00","updated_at":"2025-06-16T12:34:33.217-04:00","block_editor":{"data":{"id":"2359","type":"block_editor","attributes":{"id":2359,"exhibition_id":224,"page_id":null,"created_at":"2025-06-16T12:34:33.212-04:00","updated_at":"2025-06-16T12:34:33.212-04:00","regions":[]}}}}},{"id":"382","type":"exhibition","attributes":{"id":382,"title":"1937 Annual Exhibition of Contemporary American Painting","start_time":"1937-11-10T00:00:00.000-05:00","end_time":"1937-12-12T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/annual-1937","primary_text":"\u003cp class=\"large\"\u003eView the full exhibition catalogue at the \u003ca href=\"https://archive.org/details/1937annual00whit\"\u003eInternet Archive\u003c/a\u003e.\u003c/p\u003e","primary_media_id":41645,"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 mood of liveliness and unwonted excitement [. . .] runs through the galleries.” —\u003ca href=\"https://www.nytimes.com/1937/11/11/archives/american-artists-display-caonases-contemporary-pibtures-are-hung-in.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“There is certainly nothing half-hearted or noncommittal about the eisteddfod at the Whitney. A quick reconnoiter of the whole yields an impression of almost dazzling freshness.” —\u003ca href=\"https://www.nytimes.com/1937/11/14/archives/lively-americans-at-the-whitney-the-museums-annual-invitation.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“. . . at the present Whitney annual exhibition, one feels that until now, no one has really ‘painted America,’ and no one has created really great painting in America.” —\u003ca href=\"https://www.proquest.com/historical-newspapers/whitney-exhibition-is-opened-capital/docview/150850896/se-2\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe Washington Post\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"","videos_description":"","created_at":"2019-03-05T19:41:34.168-05:00","updated_at":"2025-06-16T12:37:07.897-04:00","block_editor":{"data":{"id":"2613","type":"block_editor","attributes":{"id":2613,"exhibition_id":382,"page_id":null,"created_at":"2025-06-16T12:37:07.892-04:00","updated_at":"2025-06-16T12:37:07.892-04:00","regions":[]}}}}},{"id":"367","type":"exhibition","attributes":{"id":367,"title":"1946 Annual Exhibition of Contemporary American Sculpture, Watercolors and Drawings","start_time":"1946-02-05T00:00:00.000-05:00","end_time":"1946-03-13T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/annual-1946-1","primary_text":"\u003cp class=\"large\"\u003eView the full exhibition catalogue at the \u003ca href=\"https://archive.org/details/1946annualsculp00whit\"\u003eInternet Archive\u003c/a\u003e.\u003c/p\u003e","primary_media_id":41630,"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“. . . all in all, a very heartening display.” —\u003ca href=\"https://www.nytimes.com/1946/02/10/archives/in-three-museums-in-the-whitney-sulpture-annual.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“There seems little doubt about it now. The Whitney has gone modern to stay.” —\u003ca href=\"https://www.nytimes.com/1946/02/05/archives/modernism-marks-whitney-art-show-second-part-of-annual-display-at.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":"","created_at":"2019-03-05T19:20:16.856-05:00","updated_at":"2025-06-16T12:36:22.905-04:00","block_editor":{"data":{"id":"2583","type":"block_editor","attributes":{"id":2583,"exhibition_id":367,"page_id":null,"created_at":"2025-06-16T12:36:22.900-04:00","updated_at":"2025-06-16T12:36:22.900-04:00","regions":[]}}}}},{"id":"1304","type":"exhibition","attributes":{"id":1304,"title":"The Museum and Its Friends: Twentieth-Century American Art from Collections of the Friends of the Whitney Museum","start_time":"1958-04-30T00:00:00.000-04:00","end_time":"1958-06-15T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/the-museum-and-its-friends-1958","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":"2024-02-28T10:02:00.394-05:00","updated_at":"2025-06-16T12:38:24.781-04:00","block_editor":{"data":{"id":"4083","type":"block_editor","attributes":{"id":4083,"exhibition_id":1304,"page_id":null,"created_at":"2025-06-16T12:38:24.776-04:00","updated_at":"2025-06-16T12:38:24.776-04:00","regions":[]}}}}},{"id":"1331","type":"exhibition","attributes":{"id":1331,"title":"American Photography: 1839–1900","start_time":"1990-07-26T00:00:00.000-04:00","end_time":"1990-09-29T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/american-photography-1839-1900","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eAmerican Photography: 1839–1900\u003c/em\u003e was organized by the International Museum of Photography at George Eastman House, Rochester, New York.\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":"2024-02-28T13:18:57.559-05:00","updated_at":"2025-06-16T12:38:25.352-04:00","block_editor":{"data":{"id":"4137","type":"block_editor","attributes":{"id":4137,"exhibition_id":1331,"page_id":null,"created_at":"2025-06-16T12:38:25.347-04:00","updated_at":"2025-06-16T12:38:25.347-04:00","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":"1902","type":"exhibition","attributes":{"id":1902,"title":"Recent Acquisitions: Selected Gifts and Purchases Since 1976","start_time":"1978-09-26T00:00:00.000-04:00","end_time":"1978-11-26T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/recent-acquisitions-1978","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eRecent Acquisitions: Selected Gifts and Purchases Since 1976\u003c/em\u003e was curated by Patterson Sims.\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":"2025-01-17T14:18:42.729-05:00","updated_at":"2026-01-06T13:17:44.076-05:00","block_editor":{"data":{"id":"5179","type":"block_editor","attributes":{"id":5179,"exhibition_id":1902,"page_id":null,"created_at":"2025-06-16T12:38:35.626-04:00","updated_at":"2025-06-16T12:38:35.626-04:00","regions":[]}}}}},{"id":"185","type":"exhibition","attributes":{"id":185,"title":"Mirror Cells","start_time":"2016-05-13T00:00:00.000-04:00","end_time":"2016-08-21T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/mirror-cells","primary_text":"\u003cp class=\"large\"\u003eThis exhibition brings together artists Liz Craft, Rochelle Goldberg, Elizabeth Jaeger, Maggie Lee, and Win McCarthy, who often conceive of interconnected works that suggest strange invented worlds. While each artist creates discrete objects, these works act in direct dialogue with one another—at times alluding to furniture or other functional items—in order to generate a broader context that extends beyond their individual physical forms. They often make use of humble materials such as wood, resin, and ceramic clay, putting a renewed emphasis on the act of making and materiality. The exhibition’s installation on the eighth floor will take on an otherworldly quality by using the galleries as a single, surreal landscape yet drawn from ideas tied to a common social reality.\u003c/p\u003e\u003cp class=\"large\"\u003eThe title \u003cem\u003eMirror Cells\u003c/em\u003e\u0026nbsp;references mirror neurons, specialized brain cells that are activated when observing the behavior of others. Researchers have theorized that these cells allow us to feel the joy and pain of others and associate them with understanding human intention and feelings of empathy. Accordingly, the works presented in the exhibition are often made as empathetic responses to events such as the loss of a loved one, preoccupations of a particular community, or changes that impact the world more broadly. Referencing both fantasy and real-life experience, they address broad concerns like inequality and climate change as well as more personal narratives connected to trauma and loss.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eMirror Cells\u003c/em\u003e is organized by associate curators Christopher Y. Lew and Jane Panetta.\u003c/p\u003e\u003cp\u003eGenerous support is provided by Jackson Tang.\u0026nbsp;\u003cbr\u003e\u003cbr\u003eAdditional support is provided by Eleanor Cayre.\u003c/p\u003e","primary_media_id":9491,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":304,"perspective_series_id":null,"press_highlights":"\u003cp\u003e\"\u003cem\u003eMirror Cells\u0026nbsp;\u003c/em\u003eAsks: What Lights Up the Brain?\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nytimes.com/2016/07/29/arts/design/mirror-cells-asks-what-lights-up-the-brain.html?mwrsm=Email\u0026_r=0\" target=\"_blank\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Spider Women, Cargo Ships, Chia Grass, and 'Mommy': Behind the Scenes of 'Mirror Cells' at the Whitney Museum\"\u003cbr\u003e—\u003ca href=\"http://www.artnews.com/2016/06/10/spider-women-cargo-ships-chia-grass-and-mommy-behind-the-scenes-of-mirror-cells-at-the-whitney-museum/?utm_medium=email\u0026utm_campaign=Weekend%20Update%2006-11-16\u0026utm_content=Weekend%20Update%2006-11-16+CID_b1c982ab0a64cec95bc5e327b9bc61ef\u0026utm_source=Email%20marketing%20software\" target=\"_blank\"\u003e\u003cem\u003eARTnews\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"Maggie Lee: Talking in Puzzles\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.blouinartinfo.com/news/story/1366434/maggie-lee-talking-in-puzzles\" target=\"_blank\"\u003eArtInfo\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Mirror Cells: Maggie Lee at the Whitney\"\u003cbr\u003e—\u003ca href=\"http://vmagazine.com/article/ahead-of-maggie-lees-group-exhibition-at-the-whitney/\" target=\"_blank\"\u003e\u003cem\u003eV Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":null,"videos_description":null,"created_at":"2017-04-03T12:47:50.000-04:00","updated_at":"2025-06-16T12:34:27.109-04:00","block_editor":{"data":{"id":"2311","type":"block_editor","attributes":{"id":2311,"exhibition_id":185,"page_id":null,"created_at":"2025-06-16T12:34:27.104-04:00","updated_at":"2025-06-16T12:34:27.104-04:00","regions":[]}}}}},{"id":"2107","type":"exhibition","attributes":{"id":2107,"title":"Prints by Seven (I)","start_time":"1970-06-26T00:00:00.000-04:00","end_time":"1970-08-02T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/prints-by-seven-1","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":"2025-01-17T14:19:03.989-05:00","updated_at":"2025-06-16T12:38:38.205-04:00","block_editor":{"data":{"id":"5579","type":"block_editor","attributes":{"id":5579,"exhibition_id":2107,"page_id":null,"created_at":"2025-06-16T12:38:38.199-04:00","updated_at":"2025-06-16T12:38:38.199-04:00","regions":[]}}}}},{"id":"89","type":"exhibition","attributes":{"id":89,"title":"Legacy: The Emily Fisher Landau Collection","start_time":"2011-02-10T00:00:00.000-05:00","end_time":"2011-05-01T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/legacy","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eLegacy: The Emily Fisher Landau Collection\u003c/em\u003e presents a selection of works from the historic gift of art pledged to the Whitney in May 2010 by longtime Museum trustee Emily Fisher Landau. Considered one of the preeminent collectors of postwar art in the United States, Emily Fisher Landau’s personal approach to collecting has long paralleled that of the Whitney, an institution similarly devoted to the art of its time. The exhibition traces many of the ideas that have preoccupied artists in the United States, particularly since the 1960s. Questions about the relevance of painting in the aftermath of Minimalism, debates about representation, “culture wars,” and a revived interest in personal narratives are explored in works by artists such as Carl Andre, John Baldessari, Felix Gonzalez-Torres, Peter Hujar, Neil Jenney, Barbara Kruger, Robert Mapplethorpe, Agnes Martin, Richard Prince, Martin Puryear, Susan Rothenberg, Mark Tansey, and David Wojnarowicz. Also highlighted in\u0026nbsp;\u003cem\u003eLegacy\u003c/em\u003e are some of the artists that Emily Fisher Landau collected in depth—Richard Artschwager, Jasper Johns, and Ed Ruscha—a reflection of her longstanding relationships with artists and her commitment to collecting in depth.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eLegacy: The Emily Fisher Landau Collection\u003c/em\u003e\u0026nbsp;is organized by Donna De Salvo, the Whitney’s Chief Curator and Deputy Director for Programs, and David Kiehl, Nancy and Fred Poses Curator.\u003c/p\u003e","primary_media_id":4276,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":241,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":null,"videos_description":null,"created_at":"2017-04-03T12:46:53.000-04:00","updated_at":"2025-06-16T12:34:10.384-04:00","block_editor":{"data":{"id":"2167","type":"block_editor","attributes":{"id":2167,"exhibition_id":89,"page_id":null,"created_at":"2025-06-16T12:34:10.379-04:00","updated_at":"2025-06-16T12:34:10.379-04:00","regions":[]}}}}},{"id":"2388","type":"exhibition","attributes":{"id":2388,"title":"Collection in Context: Neil Jenney: Natural Rationalism","start_time":"1994-09-16T00:00:00.000-04:00","end_time":"1994-12-11T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/collection-in-context-1994-3","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eCollection in Context: Neil Jenney: Natural Rationalism\u003c/em\u003e was curated by Elisabeth Sussman.\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":"2026-01-06T13:18:39.635-05:00","updated_at":"2026-01-06T13:18:39.635-05:00","block_editor":{"data":null}}},{"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":"","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":"1853","type":"exhibition","attributes":{"id":1853,"title":"Ad Reinhardt: A Concentration of Works from the Permanent Collection of the Whitney Museum of American Art","start_time":"1980-10-10T00:00:00.000-04:00","end_time":"1981-02-08T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/ad-reinhardt","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eAd Reinhardt: A Concentration of Works from the Permanent Collection of the Whitney Museum of American Art\u003c/em\u003e was curated by Patterson Sims.\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":"2025-01-17T14:18:38.211-05:00","updated_at":"2026-01-06T13:17:52.902-05:00","block_editor":{"data":{"id":"5083","type":"block_editor","attributes":{"id":5083,"exhibition_id":1853,"page_id":null,"created_at":"2025-06-16T12:38:35.008-04:00","updated_at":"2025-06-16T12:38:35.008-04:00","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":"1284","type":"exhibition","attributes":{"id":1284,"title":"Selections from the Permanent Collection","start_time":"1956-07-30T00:00:00.000-04:00","end_time":"1956-09-18T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/permanent-collection-1956-4","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":"2024-02-27T19:13:39.177-05:00","updated_at":"2025-06-16T12:38:24.461-04:00","block_editor":{"data":{"id":"4043","type":"block_editor","attributes":{"id":4043,"exhibition_id":1284,"page_id":null,"created_at":"2025-06-16T12:38:24.455-04:00","updated_at":"2025-06-16T12:38:24.455-04:00","regions":[]}}}}},{"id":"1133","type":"exhibition","attributes":{"id":1133,"title":"George Legrady: Making Visible the Invisible","start_time":"2005-11-01T00:00:00.000-05:00","end_time":"2005-11-30T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"November 2005","url":"/exhibitions/george-legrady","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eMaking Visible the Invisible\u003c/em\u003e by \u003ca href=\"/artists/10286\"\u003eGeorge Legrady\u003c/a\u003e is a data visualization project based on statistical analysis of the book and media circulation in the Seattle Central Library. The Gate Page is a database that tracks hourly data of library checkouts, including books, CDs, DVDs, and other materials. The data at the library is classified in two separate categories: fiction and nonfiction items arranged by discipline according to the Dewey Decimal Classification System. The Gate Page features the number of books checked out, a map highlighting current circulating books according to their Dewey classification category, an hourly histogram of circulation activities, and the top twenty most active Dewey categories. Clicking on each category reveals a chronological list of titles checked out during the previous hour. One of the longest continuously running online data visualization sites to date, the work\u003cem\u003e\u0026nbsp;\u003c/em\u003ereveals the ways in which information flows and how subjects of interest evolve over time, making visible the invisible patterns of collective knowledge consumption.\u003c/p\u003e\u003cp class=\"large\"\u003eProject credits: George Legrady, concept and artistic direction; Andreas Schlegel, web design and interface.\u003c/p\u003e","primary_media_id":56630,"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":"2023-10-02T23:12:03.572-04:00","updated_at":"2026-04-14T16:43:30.702-04:00","block_editor":{"data":{"id":"3771","type":"block_editor","attributes":{"id":3771,"exhibition_id":1133,"page_id":null,"created_at":"2025-06-16T12:38:21.945-04:00","updated_at":"2025-06-16T12:38:21.945-04:00","regions":[{"data":{"id":"24211","type":"region","attributes":{"id":24211,"position":1,"columns":12,"block_editor_id":3771,"created_at":"2026-04-14T16:43:30.632-04:00","updated_at":"2026-04-14T16:43:30.654-04:00","region_components":[{"data":{"id":"44488","type":"region_component","attributes":{"id":44488,"component_id":15990,"component_type":"TextComponent","position":1,"region_id":24211,"created_at":"2026-04-14T16:43:30.649-04:00","updated_at":"2026-04-14T16:43:30.649-04:00","component":{"data":{"id":"15990","type":"component","attributes":{"id":15990,"exhibition_id":1133,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eGeorge Legrady\u003c/strong\u003e (b. 1950; Budapest, Hungary) has explored born-digital processes in fine arts since the mid-1980s. His work has ranged from a fusion of computation with photography to multilinear interactive narratives to site-specific installations using custom software for real-time visualization. His installations have been exhibited internationally since the early 1990s at venues including the Cornerhouse Gallery (1985–2015), Manchester, United Kingdom; the Museum of Contemporary Art Kiasma, Helsinki; Centre Georges Pompidou, Paris; Ars Electronica, Linz, Austria; DEAF (Dutch Electronic Art Festival), Netherlands; the San Francisco Museum of Modern Art; and the National Gallery of Canada. He has received awards from Creative Capital Foundation (2002); the Daniel Langlois Foundation for the Art, Science, and Technology (2000); the Canada Council for the Arts (1992, 1994, 1997); and the National Endowment for the Arts (1996).\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eAndreas Schlegel\u003c/strong\u003e (b. 1975; Stuttgart, Germany) is a Singapore-based artist and educator whose practice bridges art, design, and technology. His solo and collaborative works have been exhibited at the Institute of Contemporary Arts Singapore, National Gallery Singapore, Groninger Museum in the Netherlands, Total Museum of Contemporary Art in Seoul, and Tainan Art Museum in Taiwan, among others. He holds degrees from UC Santa Barbara and Merz Akademie, Stuttgart, and teaches at LASALLE College of the Arts, University of the Arts Singapore.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"247","type":"exhibition","attributes":{"id":247,"title":"Juan Antonio Olivares: Moléculas","start_time":"2018-03-02T00:00:00.000-05:00","end_time":"2018-06-10T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/juan-antonio-olivares","primary_text":"\u003cp class=\"large\" dir=\"ltr\"\u003eThis exhibition by Juan Antonio Olivares (b. 1988) presents his 2017 video \u003cem\u003eMoléculas\u003c/em\u003e, along with a suite of related drawings. \u003cem\u003eMoléculas\u003c/em\u003e relates a highly personal narrative that is part autobiographical, part fantastical reality. The work explores fundamental questions about family, loss, separation, and contemporary politics, as well as the ways in which memories acutely and even painfully live on, long after events have passed. Made using 3D animation, Olivares’s touching video is equally sensitive in its technical detail. Rendered in a muted palette, the work is set in an interior that suggests both analyst’s office and modernist living room. The work visually evokes the delicate landscape of the mind, which Olivares ultimately sees as universal to our collective experiences, particularly of loss and death.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\" dir=\"ltr\"\u003eThis exhibition is Olivares’s first solo presentation in a United States institution. The video work \u003cem\u003eMoléculas\u003c/em\u003e is part of the Whitney’s permanent collection.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\" dir=\"ltr\"\u003e\u003cem\u003eJuan Antonio Olivares: Moléculas\u003c/em\u003e is organized by Jane Panetta, associate curator, with Allie Tepper, curatorial project assistant.\u003c/p\u003e\u003cp\u003eGenerous support\u003cem\u003e\u0026nbsp;\u003c/em\u003efor \u003cem\u003eJuan Antonio Olivares: Moléculas\u003c/em\u003e is provided by Jackson Tang as part of the Whitney’s emerging artists series.\u003c/p\u003e","primary_media_id":35280,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":1952,"installation_series_id":2364,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2017-10-25T12:48:37.000-04:00","updated_at":"2025-06-16T12:34:35.908-04:00","block_editor":{"data":{"id":"2393","type":"block_editor","attributes":{"id":2393,"exhibition_id":247,"page_id":null,"created_at":"2025-06-16T12:34:35.901-04:00","updated_at":"2025-06-16T12:34:35.901-04:00","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":[]}}}}}],"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"}}