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Meet the Director

About the Whitney

As the preeminent institution devoted to the art of the United States, the Whitney Museum of American Art presents the full range of twentieth-century and contemporary American art, with a special focus on works by living artists. The Whitney is dedicated to collecting, preserving, interpreting, and exhibiting American art, and its collection—arguably the finest holding of twentieth-century American art in the world—is the Museum's key resource. The Museum's signature exhibition, the Biennial, is the country's leading survey of the most recent developments in American art.

Innovation has been a hallmark of the Whitney since its beginnings. It was the first museum dedicated to the work of living American artists and the first New York museum to present a major exhibition of a video artist (Nam June Paik in 1982). Such figures as Jasper Johns, Cy Twombly, and Cindy Sherman were given their first museum retrospectives by the Whitney. The Museum has consistently purchased works within the year they were created, often well before the artists became broadly recognized. The Whitney was the first museum to take its exhibitions and programming beyond its walls by establishing corporate-funded branch facilities, and the first museum to undertake a program of collection-sharing (with the San Jose Museum of Art) in order to increase access to its renowned collection.

Designed by architect Renzo Piano and situated between the High Line and the Hudson River, the Whitney's new building vastly increases the Museum’s exhibition and programming space, providing the most expansive view ever of its unsurpassed collection of modern and contemporary American art.

2019 Biennial
Floor 3

Solo en Inglès

“It's a snapshot of contemporary art making in the United States today.”—Jane Panetta, 2019 Biennial co-curator

Hear from the artists and curators about works in the exhibition.

300—Curran Hatleberg


A red Camaro suspended on top of two garbage dumps in a wooded area.

Curran Hatleberg: Chance is the methodology of my whole practice.

Narrator: Curran Hatleberg discusses the photographs on view.

Curran Hatleberg: When I set out, I don't really know where I'm going in the sense that I just get in the car and drive, and I'm following intuition, rather than intention. So I drive around, which feels endless at times, just waiting to meet somebody who's going to be open to a connection.

Often the person that I find, a kind of curiosity that I have for them is met in kind and we sort of develop a trust and relationship from that point.

I think the best way to override these biases that we all carry around with us is through direct interaction and exchange with somebody. Ultimately I think photographs of people sort of force this interest in lives other than our own, and when this works, we feel ourselves reflected in somebody else, and thereby remove some kind of indifference that we have about them. But really it's only through others that I think we'll understand ourselves, our country, and our current moment.

Curran Hatleberg, Untitled (Camaro), 2017. Inkjet print, 19 × 23 1/2 in. (48.3 × 59.7 cm). Image courtesy the artist and Higher Pictures, New York