Upcoming Events
Grace Wales Bonner— Spirit Movers
“Beyond the single, immaculate individual expression, I hear an enthralling symphony,” says the acclaimed London-based designer Grace Wales Bonner. For this exhibition, the latest installment of MoMA’s celebrated Artist’s Choice series, Wales Bonner has gathered nearly 40 artworks from the Museum’s ... [ + ]collection that explore sound, movement, performance, and style in the African diaspora and beyond. She brings together artists from around the world and across generations, including Terry Adkins, Moustapha Dimé, Agnes Martin, Man Ray, Betye Saar, and David Hammons. The works presented are not static objects or images but dynamic entities deeply connected to ritual, devotion, and collective experience. Sculptures seem to tremble with sound; scores evoke ceremonies; drawings trace states of reverie. These intimate and poetic relations inspired Wales Bonner’s title for the exhibition, Spirit Movers.Wales Bonner has changed the way we see style. Every detail of her interdisciplinary fashion designs, publications, exhibitions, and films is related to histories, archives, and cultural identities across the diasporic world. Spirit Movers creates a deeply personal meditation on Black expression—and reflects Wales Bonner’s commitment to archival research as a form of spirituality and an aesthetic practice.
$22 - Seniors
$17 - Students
Children (16 and under): Free
Advance purchase of tickets is required to guarantee entry. Visitors who
book tickets online save $2 per ticket.
Special exhibitions, audio programs, films, and gallery talks are included in the price of admission.
Free admission for New York City residents on the first Friday evening of every month, from 4:00 to 8:00 pm
Crafting Modernity Design in Latin America, 1940–1980
“There is design in everything,” wrote Clara Porset, the innovative Cuban-Mexican designer. She believed that craft and industry could inspire each other, forging an alternative path for modern design. Not all of Porset’s colleagues agreed with her conviction. This exhibition presents these sometime... [ + ]s conflicting visions of modernity proposed by designers of home environments in Argentina, Brazil, Chile, Colombia, Mexico, and Venezuela between 1940 and 1980. For some, design was an evolution of local and Indigenous craft traditions, leading to an approach that combined centuries-old artisanal techniques with machine-based methods. For others, design responded to market conditions and local tastes, and was based on available technologies and industrial processes. In this exhibition, objects including furniture, appliances, posters, textiles, and ceramics, as well as a selection of photographs and paintings, will explore these tensions.The home became a site of experimentation for modern living during a period marked by dramatic political, economic, and social changes, which had broad repercussions for Latin American visual culture. For nearly half a century, the design of the domestic environment embodied ideas of national identity, models of production, and modern ways of living. The home also offered opportunities for a dialogue between art, architecture, and design. Highlights of the exhibition include Clara Porset’s Butaque chair; Lina Bo Bardi’s Bowl chair; Antonio Bonet, Juan Kurchan, and Jorge Ferrari Hardoy’s B.K.F. Chair; and Roberto Matta’s Malitte Lounge Furniture.
$22 - Seniors
$17 - Students
Children (16 and under): Free
Advance purchase of tickets is required to guarantee entry. Visitors who
book tickets online save $2 per ticket.
Special exhibitions, audio programs, films, and gallery talks are included in the price of admission.
Free admission for New York City residents on the first Friday evening of every month, from 4:00 to 8:00 pm
Before Technicolor: Early Color on Film
The earliest color films were made around 1895, when new, synthetically produced dyes transformed the nature of color in mediums such as postcards, magic lantern slides, and fabrics. For moviegoers and critics of the period, color added to films shot in black and white was an attractive “special eff... [ + ]ect.” In the decades before Technicolor proved capable of reproducing a full spectrum of colors closer to those of the real world, colorists indulged in the imaginative possibilities of the techniques available to them. Far from a foregone conclusion, color in film was an accent, an opportunity for artistry and experimentation. Writing in 1931, the filmmaker and historian Paul Rotha went so far as to claim that color “is unnecessary in the dramatic theatrical film” and “definitely diminishes appeal.” Color, he continued, “must always remain a speculation from a commercial point of view…a white elephant to the cinematic medium.”Recalling this “forgotten history,” this gallery installation of nine cinema works from MoMA’s collection introduces a number of early systems that were used to reproduce color on celluloid. Focused on films produced in the United States and France from the mid-1890s through the mid-1930s, the exhibition features a suite of hand-colored Butterfly and Serpentine dance films from the 1890s; the stencil-colored L’Antre Infernal (1905) and La voix du rossignol (1923); experimental Technicolor tests (1933–35), including one with actress Katharine Hepburn as Joan of Arc; and Sunshine Gatherers (1921), an advertisement for canned fruit shot in Prizma color. Digitally restored by the Department of Film in 2019, these are among the most engaging works that were acquired by the Museum’s Film Library around the time of its founding in the 1930s.
$22 - Seniors
$17 - Students
Children (16 and under): Free
Advance purchase of tickets is required to guarantee entry. Visitors who
book tickets online save $2 per ticket.
Special exhibitions, audio programs, films, and gallery talks are included in the price of admission.
Free admission for New York City residents on the first Friday evening of every month, from 4:00 to 8:00 pm
Carolina Caycedo: Spiral for Shared Dreams
How can art draw our attention to models of resistance to environmental threats? For more than a decade, Carolina Caycedo has posed this question through video, performance, and sculpture, investigating the impact of hydroelectric dams and other infrastructure on rivers, lakes, and oceans throughout... [ + ] the Americas—and on the communities that depend on those waters.Spiral for Shared Dreams is made from 11 handmade atarrayas, or fishing nets, created by four fishing communities in Mexico—the Mujeres Pescadoras del Manglar in Oaxaca, Salvemos Temacapulín in Jalisco, Cooperativa Norte in Nayarit, and Sociedad Cooperativa Mujeres del Golfo in Baja California Sur—that face different environmental challenges.Natural and mythological figures appear on some of the nets: a shrimp; an eye representing Chalchiuhtlicue, an Aztec goddess associated with fresh water, childbirth, and sensuality; and the Aztec glyph atl, which, for Caycedo, “stands for a dignified rage, which inspires a lot of us who share dreams for change.” Histories of craft, resistance, and environmental activism converge in these delicate monuments to modes of living that exist in close relation to nature.
$22 - Seniors
$17 - Students
Children (16 and under): Free
Advance purchase of tickets is required to guarantee entry. Visitors who
book tickets online save $2 per ticket.
Special exhibitions, audio programs, films, and gallery talks are included in the price of admission.
Free admission for New York City residents on the first Friday evening of every month, from 4:00 to 8:00 pm
Life Cycles: The Materials of Contemporary Design
Any act of good design must also be an act of empathy, respect, and responsibility toward all living organisms and ecosystems—as well as future generations. By translating scientific, technological, and social revolutions into objects and behaviors, design can be an agent of positive change and play... [ + ] a crucial part in restoring the fragile ties between humans and the rest of nature. Life Cycles: The Materials of Contemporary Design explores the regenerative power of design as it shifts its focus towards a more collaborative rapport with the natural world.The objects in this exhibition highlight the entire life cycle of the materials they are made of. From extraction to reuse or disposal, designers are exploring new ways—sometimes drawn from old traditions—to enlist materials in their efforts to bring ecosystems into balance. Cow manure collected from the streets of Indonesia is transformed into casings for loudspeakers and lamps. Bricks made from crop waste and fungi mycelium are used as a carbon-neutral building material. Bees fabricate honeycomb vases over human-made forms. These objects demonstrate that design can be elegant, innovative, and compelling, while at the same time offering new strategies for repairing our planet.
$22 - Seniors
$17 - Students
Children (16 and under): Free
Advance purchase of tickets is required to guarantee entry. Visitors who
book tickets online save $2 per ticket.
Special exhibitions, audio programs, films, and gallery talks are included in the price of admission.
Free admission for New York City residents on the first Friday evening of every month, from 4:00 to 8:00 pm