Accessibility Information
Whitney Biennial 2026

The Whitney invites all visitors to immerse themselves in the richness and The Whitney invites all visitors to immerse themselves in the richness and complexity of contemporary American art at Whitney Biennial 2026. To make the most of your visit, review a few accessibility considerations in the exhibition, located on Floors 1, 5, and 6. If you need to request accessibility accommodations, please review our Accessibility page.

All floors

• There are works in Whitney Biennial 2026 that address topics including colonialism, racism, violence, sex, and sexual violence. There are content warnings for some of these works in the galleries.
• The exhibition includes multimedia artworks, paintings, sculptures, installations, sound works, and videos. We invite you to engage with these works, but, unless explicitly noted otherwise, please do not touch artworks in the exhibition.
• Various types of seating are offered throughout the exhibition. 
• All videos and sound work in this exhibition contain captions, transcripts, and/or sound descriptions. These resources can be found on Bloomberg Connects and can be accessed using the QR code available on the gallery labels.
• The exhibition offers interpretive resources, including interviews with the artists and curators, and verbal descriptions of select artworks on Bloomberg Connects. 
• Bloomberg Connects offers translations into more than fifty languages of all interpretive resources, including audio guides, captions, transcripts, and sound descriptions. Language options appear on the Bloomberg Connects launch page.
• Touchable prints are available for four artworks in the Biennial: 
  • Emilie Louise Gossiaux, Co-Shaping One Another with the Moon, 2025. (Floor 5)
  • Jasmin Sian, if I had a little zoo: HRH Fennel and busy bumblebee, 2015.  (Floor 5)
  • Akira Ikezoe, Mole Stories around Methane Gas, 2025. (Floor 6)
  • Nani Chacon, Our Gods Walk are Below Us, 2026. (Floor 6)

These prints are available in the galleries near the artworks. Touchable prints are made with Swellform paper as well as plastic and provide a tactile representation of an artwork. These prints are made for blind and low vision visitors but are available for use by everyone. They should not be taken away from the gallery.

• Large print guides of wall labels in English and Spanish and didactics from each floor of the Biennial are available by request at the front desk in the Museum lobby. 
• Multiple tours and programs will be designed for visitors with a wide range of disabilities to further engage with the 2026 Biennial. For more information, go to our Access Programs page.

Flashing and Stroboscopic Lights

• There are a number of works throughout the Biennial that contain flashing and stroboscopic light effects that may trigger seizures in individuals with photosensitive epilepsy. These works include:
  • Ignacio Gatica, Sanhattan, 2025 (in Kaufman gallery on Floor 5)
  • kekahi wahi, 20-minute workout, 2024-2025 (towards northeast side of Floor 5)
  • Gabriela Ruiz, Homo Machina, 2026 (towards mid-southern side of Floor 5)
  • Basel Abbas and Ruanne Abou-Rahme, Until we become fire and fire us (towards southeast side of Floor 5)
  • Samia Halaby (towards southwest side of Floor 6)
  • Mariah Garnett (towards southeast side of Floor 6)

Lobby Gallery

Zach Blas’ installation CULTUS, 2023 contains a five-channel high-definition video with sound, an LED sphere in the center of the room suspended above a large platform, and other materials like LED lights, aluminum, fiberboard, acrylic, metal chains, and hand-blown glass. The room has very low lighting. There are benches in three corners of the room.

A transcript for the video can be found here on Bloomberg Connects.

CULTUS is the second part of Silicon Traces, Zach Blas’s trilogy about the fantasies and ideologies that influence the tech industry’s drive toward domination. The work includes sexual content.

Floor 5

• Oswaldo Maciá’s Requiem for the Insects, 2026, is an installation that contains a scent sculpture, a painting, and 16-channel sound. 
• Leo Castañeda’s Camoflux Biomes, 2026, is a video game with sound. You can play the game in the galleries or here
• Kelly Akashi’s sculpture Monument (Altadena), 2026 on the Floor 5 terrace is made of cast glass bricks, mortar, and stainless steel. Monument (Altadena), stands as a monument to the widespread losses suffered in Altadena, California, in the Eaton Fire in January 2025. After Akashi’s home and studio burned, the chimney was the only structure left standing. Here, she has worked with a mason to reconstruct it piece by piece, alongside a reconstruction of her home’s walkway, in luminous glass brick.
  • Visitors can walk on the cast glass bricks but should not touch any other part of the sculpture.