“In October 2019, MoMA will reveal a presentation that highlights the creative affinities and frictions produced by displaying painting, sculpture, architecture, design, photography, media, performance, film, and works on paper together. A new curatorial generation will continually renew the experience of the Museum through installations and exhibitions, artist commissions, and programs that encourage debate and discovery.
The fifth-, fourth-, and second-floor galleries, including the new David Geffen Wing with over 30,000 square feet of new gallery space, will offer a deeper experience of art through all mediums and by artists from more diverse geographies and backgrounds than ever before. A general chronological spine will unite the three floors and serve as a touchstone of continuity for visitors. Individual galleries, some of which will be medium-specific, will delve into presentations of art and ideas that only MoMA’s collection can offer. This curatorial vision foregrounds the complex relationships among works of art and leverages the new architecture to encourage a multitude of possible routes through the Museum.
Recognizing that there is no single or complete history of modern and contemporary art, the Museum will systematically rotate a selection of art in these collection galleries every six to nine months. By 2022, MoMA will have re-choreographed each of its galleries across the fifth, fourth, and second floors—and will constantly renew the presentation.” — The Museum of Modern Art
Installation views of MoMA 2019. Photographs by Corrado Serra.
Second Floor Atrium: Haegue Yang, Handles, 2019
Second Floor Atrium: Haegue Yang, Handles (detail). 2019
Gallery 202: Downtown New York. Left: Jean-Michel Basquiat, Glenn, 1985
Gallery 206: Transfigurations. Center: Mrinalini Mukherjee, Yakshi, 1984
Gallery 209: Inner and Outer Space. Chen Zhen, Un Village sans frontiers, 2000
Gallery 212 Installation: Sheela Gowda, Of All People, 2011
Third Floor, Site-Specific Work: Yoko Ono, PEACE is POWER (detail), 2019
Gallery 403. Action Painting I. Left to right: Franz Kline, Painting Number 2, 1954; David Smith, History of LeRoy Borton, February 17, 1956; Willem de Kooning, Woman I, 1950–52
Gallery 408: Stamp, Scavenge, Crush. Left: Robert Rauschenberg, Canyon, 1959
Gallery 412: From Soup Cans to Flying Saucers
Gallery 420: War Within, War Without
Fourth Floor Installation: David Tudor and Composers Inside Electronics, Inc., Rainforest V (variation 1), 1973–2015
Gallery 501: 19th-Century Innovators. Left: Vincent van Gogh, The Starry Night, 1889. Right: Henri Rousseau, The Sleeping Gypsy, 1897
Gallery 504: New Expressions in Germany and Austria
Gallery 505: Circa 1913. Left to right: Marc Chagall, I and the Village, 1911; Vladimir Baranoff-Rossiné, Symphony Number 1, 1913; Fernand Léger, Exit the Ballets Russes, 1914
Gallery 508: Readymade in Paris and New York
Gallery 512: Abstraction and Utopia. Left to right: El Lissitzky, Proun 19D, 1920 or 1921; Katarzyna Kobro, Spatial Composition (5), 1929; Vasyl’ Iermilov, Composition Number 3, 1923
Gallery 514: Paris 1920s. Left: Pablo Picasso, Three Musicians, 1921. Right: Pablo Picasso, The Studio, 1927-28
Gallery 514: Paris 1920s. Right: Fernand Leger, Three Women, 1921-22
Gallery 515: Claude Monet, Water Lilies, 1914-26
Fifth Floor Installation: Artist’s Choice: Amy Sillman—The Shape of Shape
Sixth Floor Surrounds: 11 Installations. Sarah Sze, Triple Point (Pendulum), 2013
Sixth Floor Surrounds: 11 Installations. Dayanita Singh, Museum of Chance, 2013
Sixth Floor Surrounds: 11 Installations. Mark Manders, Room with Chairs and Factory, 2002-2008.
Sixth Floor Surrounds: 11 Installations. Hito Steyerl, Liquidity Inc., 2014
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