Advance Exhibition Schedule


Where We Are: Selections from the Whitney’s Collection, 1900–1960
Apr 28, 2017–

At a time when debate continues over what it means to be American, Where We Are proposes a framework of everyday relationships, institutions, and activities that form an individual's sense of self. The exhibition focuses on works from the Whitney’s collection made between 1900 and 1960, a tumultuous period in the history of the United States when life in the country changed drastically due to war, economic collapse, and demands for civil rights. Artists responded in complex and diverse ways, and the exhibition honors their efforts to put forward new ways of presenting the self and American life.

Where We Are is organized by David Breslin, DeMartini Family Curator and Director of the Collection, with Jennie Goldstein, assistant curator, and Margaret Kross, curatorial assistant.


Mary Corse: A Survey in Light
Jun 8–Nov 25, 2018

Mary Corse’s first solo museum survey is a long overdue examination of this singular artist’s career. Initially trained as an abstract painter, Corse (b. 1945, Berkeley, CA) emerged in the mid-1960s as one of the few women associated with the West Coast Light and Space movement. She shared with her contemporaries a deep fascination with perception and with the possibility that light itself could serve as both a subject and material of art. Yet while others largely migrated away from painting into sculptural and environmental projects, Corse approached the question of light through painting. This focused exhibition highlights critical moments of experimentation as Corse engaged with tropes of modernist painting, from the monochrome to the grid, while charting her own course through studies in quantum physics and complex investigations into a range of “painting” materials, from fluorescent light and Plexiglas to metallic flakes, glass microspheres, and clay. The survey will bring together for the first time Corse’s key bodies of work—including her early shaped canvases, freestanding sculptures, and light encasements that she engineered in the mid-1960s, in her early twenties, as well as her breakthrough White Light Paintings, begun in 1968, and the Black Earth Series that she initiated after moving in 1970 from downtown Los Angeles to Topanga Canyon, where she lives and works today.

The exhibition is organized by Kim Conaty, Steven and Ann Ames Curator of Drawings and Prints. It is accompanied by a fully illustrated catalogue, featuring new scholarship and object studies that demonstrate how Corse’s groundbreaking approach to light, perception, and subjectivity forged a new language of painting.


Programmed: Rules, Codes, and Choreographies in Art, 1965–2018
Sep 28, 2018–Apr 14, 2019

Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 focuses on video and computational art from the 1960s until today. Taken from the Whitney's collection, the show brings together key works and projects that have never been shown before, highlighting the breadth of the collection and providing new perspectives. The exhibition links two strands of artistic exploration that are related in their use of a “program”: one section explores programming as instructions and algorithms from a more conceptual perspective; the other engages with the TV program, its apparatus, and signal or the instruction-based manipulation of image sequences. In different ways, all of the artworks in the exhibition refer to their condition of being programmed. Together they illustrate the evolution of today's image world, from the idea of “the machine that makes the art” to broadcasting systems and a visual and cultural landscape driven by algorithms. Programmed explores both the potentially infinite aspects of image-making and its limits.

This exhibition is organized by Christiane Paul, Adjunct Curator of Digital Art, Carol Mancusi-Ungaro, Melva Bucksbaum Associate Director for Conservation and Research, with Clémence White, curatorial assistant.


Derek Fordjour: Half Mast
Sep 24, 2018–

Half Mast, a new work by Derek Fordjour, will be the eighth work in the ongoing series of public art installations on the façade of 95 Horatio Street, located directly across from the Whitney Museum of American Art and the High Line. The exhibition marks the artist’s first museum solo exhibition.

Half Mast considers the recent national conversation around gun violence, speaking in particular to the surge of school shootings and to the everyday atrocities impacting Black and Brown communities in the United States. The piece offers a portrait of this complex moment in U.S. history by presenting many figures that are part of this conversation in one compressed, shared space. The crowd includes law enforcement officials and civilians, including students, as well as absent figures, bodies marked with targets, and teddy bears and balloons reminiscent of street side memorials.

Derek Fordjour: Half Mast is organized by Allie Tepper, curatorial project assistant


Andy Warhol— From A to B and Back Again
Nov 12, 2018–Mar 31, 2019

Few American artists are as ever-present and instantly recognizable as Andy Warhol (1928–1987). Uniting all aspects, media, and periods of Warhol’s career, this exhibition will provide an historic opportunity to better comprehend the work of the most American of artists. The presentation will illuminate the breadth and depth of the artist’s production: from his beginnings as a commercial illustrator in the 1950s, to his iconic Pop masterpieces of the early 1960s, to the experimental work in film and other mediums from the 1960s and '70s, to his innovative use of readymade abstraction and the painterly sublime in the 1980s. Building on the wealth of new research and materials that have come to light since the artist’s untimely death, this exhibition reveals new complexities about the Warhol we think we know, and introduces a Warhol for the 21st century. 

The exhibition tours to the San Francisco Museum of Modern Art in spring 2019, and to the Art Institute of Chicago in fall 2019. 

The exhibition is organized by Donna De Salvo, Deputy Director for International Initiatives and Senior Curator, with Christie Mitchell, curatorial assistant, and Mark Loiacono, curatorial research associate. 


Kevin Beasley: A view of a landscape
Dec 15, 2018– Mar 10, 2019

Kevin Beasley (b. 1985, Lynchburg, VA) engages with the legacy of the American South through a new installation that centers on a cotton gin motor from Maplesville, Alabama. In operation from 1940 to 1973, the motor powered the gins that separated cotton seeds from fiber. Here, the New York-based artist uses it to generate sound as if it were a musical instrument, creating space for visual and aural contemplation. Through the use of customized microphones, soundproofing, and audio hardware, the installation divorces the physical motor from the noises it produces, enabling visitors to experience sight and sound as distinct. As an immersive experience, the work serves as a meditation on history, land, race, and labor.

This exhibition is organized by Christopher Y. Lew, Nancy and Fred Poses Curator, with Ambika Trasi, curatorial assistant.


2019 Biennial
May 2019

With a long history of exhibiting the most promising and influential artists and provoking debate, the Whitney Biennial is the Museum’s signature survey of the state of contemporary art in the United States. The Biennial, an invitational show of work largely produced in the preceding two years, was introduced by Gertrude Vanderbilt Whitney in 1932, and it is the longest continuous series of exhibitions in the country to survey recent developments in American art.

The 2019 Whitney Biennial is organized by Jane Panetta, associate curator, and Rujeko Hockley, assistant curator, Whitney Museum of American Art.