Arts Summary

June 11, 2026

Hujar: Contact at The Morgan Library & Museum, May 22 through October 25, 2026

“This spring, the Morgan Library & Museum will present Hujar:Contact, an exhibition exploring the life, times, and creative evolution of photographer Peter Hujar (1934–1987). On view from May 22 through October 25, 2026, the exhibition features more than 110 contact sheets and 20 enlargements from the Morgan’s collection of Peter Hujar’s works.

In 2013, the Morgan acquired the 5,783 black-and-white contact sheets Hujar possessed at the time of his death, along with two notebooks, or ‘job books,’ in which he recorded his photographic assignments and personal projects from 1954 until 1985. Together, these materials provide a detailed record of an artist who left no written reflection on his work, yet carefully preserved the traces of his decades-long photographic life. Hujar:Contact foregrounds the material processes that structured photographic practice in the era of film and chemical printing. Visitors to the exhibition will be transported to Hujar’s darkroom, invited to study these small images with the same attentiveness and care that Hujar himself brought to them.”—Morgan Library & Museum

Capuchin Catacombs, Palermo, with Paul Thek, 1963, job 256.
The Morgan Library & Museum, purchased on the Charina Endowment Fund, 2013, 2013.108:8.5269-5272. Courtesy of Fraenkel Gallery, San Francisco and Ortuzar, New York; © The Peter Hujar Archive / Artists Rights Society (ARS).

Joseph Raffael among other Stable Gallery artists and staff, ca. 1967, job 327. The Morgan Library & Museum, Peter Hujar Collection, Morgan Library & Museum, New York purchased on the Charina Endowment Fund, 2013, 2013.108:8.499. Courtesy of Fraenkel Gallery, San Francisco and Ortuzar, New York; © The Peter Hujar Archive / Artists Rights Society (ARS).

The Cockettes at 10 East 23rd Street, 1971, job 519.
The Morgan Library & Museum, Peter Hujar Collection, New York purchased on the Charina Endowment Fund, 2013, 2013.108:8.1560. Courtesy of Fraenkel Gallery, San Francisco and Ortuzar, New York; © The Peter Hujar Archive / Artists Rights Society (ARS).

Candy Darling in room 1423, Cabrini Health Care Center, 1973, job 587.
The Morgan Library & Museum, Peter Hujar Collection, New York purchased on the Charina Endowment Fund, 2013, 2013.108:8.5770. Courtesy of Fraenkel Gallery, San Francisco and Ortuzar, New York; © The Peter Hujar Archive / Artists Rights Society (ARS).

Joe Brainard at home, 1975, job 664.
The Morgan Library & Museum, Peter Hujar Collection, New York purchased on the Charina Endowment Fund, 2013, 2013.108:8.2285. Courtesy of Fraenkel Gallery, San Francisco and Ortuzar, New York; © The Peter Hujar Archive / Artists Rights Society (ARS).

Marsha P. Johnson on Christopher Street Pier, Easter, 1976, job 719.
The Morgan Library & Museum, Peter Hujar Collection, New York purchased on the Charina Endowment Fund, 2013, 2013.108:8.2624. Courtesy of Fraenkel Gallery, San Francisco and Ortuzar, New York; © The Peter Hujar Archive / Artists Rights Society (ARS).

Caven Point, New Jersey, with David Wojnarowicz, 1984, job 1063.
The Morgan Library & Museum, Peter Hujar Collection, New York purchased on the Charina Endowment Fund, 2013, 2013.108:8.5789. Courtesy of Fraenkel Gallery, San Francisco and Ortuzar, New York; © The Peter Hujar Archive / Artists Rights Society (ARS).

“Following our 2018 exhibition Peter Hujar: Speed of Life, which explored the full length and breadth of Hujar’s artistic career for the first time, Hujar:Contact turns to his creative process,” said Colin B. Bailey, Katharine J. Rayner Director of the Morgan Library & Museum. “This exhibition advances the Morgan’s commitment to collecting and interpreting contemporary photography and to broadening appreciation for a medium that is both immediate and reflective.”

The exhibition elevates the contact sheet, traditionally a working tool, into an art object worthy of close visual reading in its own right. Each sheet reproduces an entire roll of film, allowing viewers to follow Hujar’s eye through a series of exposures. Many of the contact sheets include Hujar’s own handwritten notes, marks, and annotations, which indicate his changing approach to cropping and printing and elucidate the editorial decisions behind each final image.

“Contact sheets reveal an intimate history of Hujar’s habits, inspirations, and happy accidents—the intricacies hidden behind a final print,” said Joel Smith, curator of the exhibition and Richard L. Menschel Curator and Department Head of Photography at the Morgan. “Hujar:Contact illuminates the physical process that was central to his artistic practice.”

Hujar:Contact is organized by Joel Smith, Richard L. Menschel Curator and Department Head of Photography.

Title image: Peter Hujar, (1934 – 1987) Self-portraits at 189 Second Avenue, 1974, job 620. The Morgan Library & Museum, Peter Hujar Collection, New York purchased on the Charina Endowment Fund, 2013, 2013.108:8.2110. Courtesy of Fraenkel Gallery, San Francisco and Ortuzar, New York; © The Peter Hujar Archive / Artists Rights Society (ARS).

Images courtesy Morgan Library & Museum.

June 8, 2026

Costume Art at The Met Fifth Avenue, May 10, 2026 through January 10, 2027

“The show examines the centrality of the dressed body, juxtaposing garments and works of art from across the Museum’s vast collection to create pairings that not only illuminate the indivisible connection between clothing and the body but also the complex interplay between artistic representations of the body and fashion as an embodied artform. Costume Art is on view at The Met Fifth Avenue from May 10, 2026, through January 10, 2027.”—The Met

Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer said: “Costume Art will present a dynamic and scholarly conversation between garments from The Costume Institute and an array of artworks from across The Met’s collection, elevating universal and timeless themes while bringing forward new ideas and ways of seeing. This immensely creative and collaborative show will demonstrate the Museum’s innovative and forward-thinking approach to presenting Costume Institute exhibitions and will highlight The Met’s unique ability to position fashion within the context of more than 5,000 years of art represented in its collection. The newly designed, state-of-the-art Condé M. Nast Galleries further reflect The Met’s commitment to displaying and appreciating fashion as an art form, and also to continually investing in gallery improvement projects that will benefit our visitors for generations to come. We are thrilled to announce such an esteemed group of co-chairs and members of the host committee, and further we are deeply grateful to all our donors for their remarkable generosity to create these new, grand public galleries.”

Naked and Nude Body, Gallery View. Photo © Anna-Marie Kellen / The Metropolitan Museum of Art

Classical Body, Gallery View.. Photo © Anna-Marie Kellen / The Metropolitan Museum of Art

Abstract Body, Gallery View. Photo © Anna-Marie Kellen / The Metropolitan Museum of Art

Pregnant Body, Gallery View. Photo © Anna-Marie Kellen / The Metropolitan Museum of Art

Inscribed Body, Gallery View. Photo © Anna-Marie Kellen / The Metropolitan Museum of Art

Epidermal Body, Gallery View. Photo © Anna-Marie Kellen / The Metropolitan Museum of Art

Mortal Body, Gallery View. Photo © Anna-Marie Kellen / The Metropolitan Museum of Art

Andrew Bolton, Curator in Charge, The Costume Institute, added: “For The Costume Institute’s inaugural exhibition in the Condé M. Nast Galleries, I wanted to focus on the centrality of the dressed body within the Museum, connecting artistic representations of the body with fashion as an embodied art form. Rather than prioritizing fashion’s visuality, which often comes at the expense of the corporeal, Costume Art privileges its materiality and the indivisible connection between our bodies and the clothes we wear. The opening of the new Galleries will mark a pivotal moment for the department, one that acknowledges the critical role that fashion plays not only within art history but also within contemporary culture. I am grateful to Max for his support and to the generous donors to the Galleries for their belief in fashion’s transformative possibilities.”

The exhibition is organized by Andrew Bolton, Curator in Charge, The Costume Institute, with the support of Costume Institute staff Stephanie Kramer, Senior Research Associate; Ayaka Iida, Research Associate; and Emily Mushaben, Research Associate. The exhibition is designed by Miriam Peterson and Nathan Rich of Peterson Rich Office (PRO). Additionally, artist Samar Hejazi created bespoke heads for the show’s mannequins.

Title image: Naked and Nude Body, Gallery View. Photo © Anna-Marie Kellen / The Metropolitan Museum of Art.

Images courtesy The Metropolitan Museum of Art.

June 8, 2026

Musical Bodies at The Met Fifth Avenue, June 7 through Sept 27, 2026

“From clapping hands and tapping feet to beatboxing and whistling, the human body is a musical instrument. In turn, instruments often draw their form and decoration from the body. Musical Bodies, which opens on June 7 at The Metropolitan Museum of Art, will explore the multifaceted relationship between musical instruments and the human body. This is the first major exhibition to address this theme and will bring together some 130 works from around the world and across time, including musical instruments, paintings, sculptures, and drawings from The Met collection along with important international loans.

Encompassing 4,000 years of music history and art, Musical Bodies will feature a range of objects from across the visual arts, literature, religion, pop culture, and mythology. This includes ancient Egyptian rattles, paintings by Titian and Degas, instrument-inspired apparel, and one of Prince’s most notable guitars. The ways in which the boundaries between body and instrument have been artfully blurred will be explored through visionary works such as Nam June Paik’s TV Cello; the PianoArc circular keyboard designed in collaboration with Brockett Parsons, keyboardist for Lady Gaga; and a steel guitar in the form of a crutch that was made for country music singer and songwriter Barbara Mandrell while she was recovering from an automobile crash.” — The Metropolitan Museum of Art

Installation view of *Musical Bodies*, on view June 7–September 27, 2026 at The Metropolitan Museum of Art. Photo by Eileen Travell, courtesy of The Met.

“Musical instruments, which represent an important part of the Met’s collection, have long been recognized and celebrated as dynamic tools for creative expression, and also as works of art in their own right,” said Max Hollein, The Met’s Marina Kellen French Director and CEO. “This multisensory exhibition is the first to explore—through remarkable instruments, objects, and works of art—the fascinating ways in which sound, musical objects and the human form have been in conversation for millennia. Including outstanding instruments, powerful performances and immersive in-gallery experiences, Musical Bodies is a show that will resonate, fascinate and inspire.”

“Musical Bodies first formed in my mind as a deceptively simple question: Why are so many instruments shaped and decorated like the human body?” said Bradley Strauchen-Scherer, Curator in the Department of Musical Instruments at The Met.“The quest for an answer has become an exploration of humanity through the lens of instruments and music. We find ourselves represented in these instruments because, for much of our history, music has been central to who we are and what we do. I hope this exhibition will reconnect all of us with our innate musicality and shared heritage of harmony.”

Musical Bodies will be on view during the presentation of the exhibition Costume Art (May 10, 2026–January 10, 2027), which will examine the centrality of the dressed body in fashion and art. The two shows will provide visitors with distinct and engaging explorations of the body’s relationship to artistic expression.

Musical Bodies is conceived and organized by Bradley Strauchen-Scherer, Curator in the Department of Musical Instruments at The Met, assisted by Ava Valentino, Research Assistant in the Department of Musical Instruments.

Title image: Thomas Zach, Austrian, 1812–1892. Violino Harpa Forma Maxima, 1874. Wood (spruce, maple, ebony), metal strings. Approx dimensions: H: 27 in x W: 15 in x D: 3 in (70 x 55 x 10cm). Mus.e de la musique, Cit. de la Musique-Philharmonie de Paris IOI.009. Lender Name: Mus.e de la Musique, Cit. de la Musique. Courtesy of The Met.

June 2, 2026

El Pasado Mio/My Own Past: Afrodescendant Contributions to Cuban Art and Afrocubanismo: Highlights from the Ramón and Nercys Cernuda Collection at The Lowe Art Museum, University of Miami, through September 12, 2026

“The Lowe Art Museum proudly presents two exhibitions that are the most comprehensive presentation of Afro-Cuban art ever shown. After its debut in Cambridge, Harvard University’s exhibition organizers at the Afro-Latin American Research Institute selected the Lowe for ElPasado Mio/My Own Past: Afrodescendant Contributions to Cuban Art – the groundbreaking museum show that brings to light how Cuban artists of African descent were erased and sidelined. Concurrently, the Lowe is presenting the companion exhibition Afrocubanismo: Highlights from the Ramón and Nercys Cernuda Collection. These two exhibitions feature more than 100 works of art spanning 200 years (created between 1822 and 2022), showcasing 58 Cuban artists in a new way.

There are a total of nine paintings by Wifredo Lam in these exhibitions, including rarely seen early works from 1926, 1931 and 1937. The Lowe’s iteration of El Pasado Mio/My Own Past has been expanded with works from local collections in Miami, doubling the number of historical works created before 1959. Women artists were also excluded from the canon of Cuban art history, and El Pasado Mio features works by eleven female artists who are being exhibited together for the first time.” – Lowe Art Museum

El Pasado Mio/My Own Past: Afrodescendant Contributions to Cuban Art

“El Pasado Mio/My Own Past restores critical omissions in the annals of Cuban art history by elevating Afrodescendant artists who have been overlooked, forgotten, or written out of the historical record. The Lowe is honored to present this transformational exhibition, which not only contextualizes these lost voices but also brings them into dialogue with contemporary artists, and artists from the Cuban Vanguardia,” says Dr. Jill Deupi, the Lowe Art Museum’s Beaux Arts Executive Director and Chief Curator. “The latter is the intention of Afrocubanismo: Highlights from the Ramón and Nercys Cernuda Collection, our companion exhibition which explores the complexities and contradictions of Afro-Cuban culture, which played a vital and persistent role in Cuban Modernism.”

The guest curator of both exhibitions is Dr. Alejandro de la Fuente, the Director of Harvard’s Afro-Latin American Research Institute. “Every artist in El Pasado Mio/My Own Past is Afrodescendant. This shows a different genealogy for Cuban art, because we are rescuing Afrodescendant figures who were sidelined by history and are presenting them with some of the most well-known Cuban artists who are also of African descent,” says de la Fuente. “We always wanted the city of Miami and the Lowe Art Museum to present this exhibition after Harvard. Both exhibitions are the first of their kind.”

Elio Rodriguez Valdes. *Naked Jungle*, 2020. Soft sculpture and acrylic. David Perez Collection.

Roberto Diago Querol. Eleggua’s Head, 1040. Gouache on cardboard. Private collection.

Maria Magdalena Campos Pons. *Finding Balance*, 2015. 28 polaroid prints. Courtesy of the artist and Bernice Steinbaum Gallery.

Alexandre Arrechea. *Cantor, Truth and Lies, Sound of Seas*, and *Desperate Measures*, 2019. UVI ink on wood

Afrocubanismo: Highlights from the Ramón and Nercys Cernuda Collection

“The concurrent exhibition Afrocubanismo: Highlights from the Ramón and Nercys Cernuda Collection is a parallel project meant to be viewed in conversation with El Pasado Mio/My Own Past. This exhibition presents a distinct group of artists, because all of them were racialized as white during their lives – except for Wifredo Lam, who is the only Afrodescendant artist in this exhibition. “Theirs is an external gaze – they were looking into the Afro-Cuban culture without really understanding it,” says Dr. de la Fuente. Afrocubanismo was a cultural movement – visual arts, literature and music – that emerged in the 1930s and peaked during the 1940s, during Cuba’s first Vanguardia wave. Many of these artists visited Paris in the 1920s. There they discovered, and were influenced by, the Parisian fascination with traditional sub-Saharan African art. On the one hand, some of these artists were seen as co-opting a history that was not theirs. Some of their works are seen as being exploitive, and as caricatures. On the other hand, some are seen as wanting to center and re-imagine Cuba through its African roots, Afro-religious forms, and Afro-Cuban cultures.

The exhibition Afrocubanismo: Highlights from the Ramón and Nercys Cernuda Collection features 27 artworks by 14 Cuban artists. Drawing on the Ramón and Nercys Cernuda Collection, the Lowe Art Museum’s exhibition — guest curated by Alejandro de la Fuente — presents key Afrocubanista works to illuminate the complex social and cultural forces shaping twentieth century Cuban art.

Some of the well-known artists include: Wifredo Lam, Agustin Cardenas, Juan Roberto Diago, Maria Magdalena Campos Pons and Manuel Mendive, among others. Some of the artists who were previously obscured include: Pastor Argudin, Maria Ariza, Antonio Argudin Chon, and Tony Ximenez, among others.” – Lowe Art Museum

Wifredo Lam. *En Lugar del Día (Au Defaut du Jour)*, 1945. Oil on canvas. 61 1/2 x 49 5/8 inches. The Ramón and Nercys Cernuda Collection, Miami.

Wifredo Lam. *Sin Título*. *Untitled (Enigmatic Woman)*. 1970. Oil on canvas. 63 x 51 inches. The Ramón and Nercys Cernuda Collection, Miami.

René Portocarrero. Diablito Abacua (Little Devil Abacua), 1962. Oil on canvas. 20 x 16 1/4 inches. The Ramón and Nercys Cernuda Collection, Miami.

Pedro Luis Martínez. *Mujer en Interior con Pájaro y Florero (Woman in Interior with Bird and Flower Vase)*, 1949. Mixed media on heavy paper laid down on canvas. 29 1/2 x 41 1/4 inches. The Ramón and Nercys Cernuda Collection, Miami.

Images courtesy The Lowe Art Museum.

May 18, 2026

Lilia Carrillo: Ruptures and Premonitions at Americas Society, May 13 through August 1, 2026

“Americas Society is pleased to announce the exhibition Lilia Carrillo: Ruptures and Premonitions, opening on May 13, 2026. Curated by Tobias Ostrander, this landmark show introduces the work of Lilia Carrillo (1930–1974) to a New York audience, positioning her as a central force of the postwar group of Mexican painters known as the Generación de la Ruptura or the Rupture Generation.

The show, which will be on view until August 1, 2026, features two dozen of her most accomplished paintings from 1961 until 1974, alongside a selection of archival photographs, letters, invitations, and publications which document her active role in the diverse and often-controversial cultural landscape of her time.” — Americas Society

*Playa escondida (Hidden beach)*, 1961. Mixed medium on canvas. 59 x 70 4/5 in. (150 x 180 cm.)
Rocío and Boris Hirmas Collection. LC_026. Photo Credit: Gerardo Landa Rojano

*Contaminación primaveral (Spring pollution)*, 1968. Oil on canvas. 39 1/2 x 51 3/10 in. (100.5 x 130.5 cm.)
Secretaría de Cultura / INBAL. Collection of the. Museo de Arte Moderno. LC_016. Photo: Gerardo Landa Rojano

*Detrás del muro (Behind the wall)*, 1968. Oil on canvas. 31 1/2 x 42 1/2 in. (80 x 108 cm.). Private Collection, Courtesy of Pablo Goebel Fine. Arts Gallery, Mexico City. LC_020. Photo Credit: Edher Moreno

“While Lilia Carrillo’s paintings dialogue with the gestural practices of her European informalist and North American Abstract Expressionist peers, they also allude these tendencies through the diversity of their mark-making and layered surfaces, maintaining an enigmatic uniqueness, one that additionally has no equivalent within the artist’s Generación de la Ruptura,” said Ostrander, who is the curator at large at Estrellita B. Brodsky and Latin American Art at Tate Modern.

“By focusing on ‘ruptures’ and ‘premonitions,’ the exhibition seeks to highlight the works’ mysterious and ritual character, while also addressing their references to the challenging environmental and political contexts in which they were made,” added the curator.

Title image: Premonición (Premonition), 1970. Acrylic on canvas. 31 1/2 x 39 2/5 x 4/5 in. (80 x 100 x 2 cm.). Courtesy of kurimanzutto, Mexico City / New York. LC_024. Photo Credit: Gerardo Landa Rojano

Images courtesy Americas Society.

May 9, 2026

Tutto Boetti 1966 – 1993 at Magazzino Italian Art, April 26, 2026 – April 26, 2028

“Following exhibitions dedicated to Piero Gilardi (Tappeto natura, 2022) and Michelangelo Pistoletto (Welcome to New York, 2023–2024), Magazzino Italian Art continues its in-depth program focused on each of the artists associated with the Arte Povera movement through a series of focused exhibitions. Within this context, the new exhibition Tutto Boetti 1966–1993, opening to the public on April 26, 2026, will be presented in the Main Building, establishing a dialogue with the museum’s permanent Arte Povera collection.

Tutto Boetti 1966–1993 presents approximately 30 works by Alighiero Boetti (1940– 1994), beginning with a core group from the museum’s permanent collection, including a selection of early works from the 1960s, alongside loans from the Boetti estate and an important private collection. Among the works on display are several monumental pieces such as Mazzo di tubi (1966), Da mille a mille (1975), Insicuro Noncurante (1975–76), and the large kilim Alternando da uno a cento e viceversa (1993).

The exhibition will be complemented by a symposium on April 25, 2026, featuring leading curators, critics, and artists invited to reflect on Boetti’s legacy, affirming his central role as one of most influential figures in the history of contemporary art. The symposium is organized in collaboration with the Fondazione Alighiero e Boetti in Rome.

The title of the exhibition evokes the idea of a broad presentation of the artist’s research across nearly three decades of activity. At the same time, it explicitly alludes to the celebrated Tutto series, large textile compositions begun in the 1980s that juxtapose a dense weave of images and signs.” — Magazzino Italian Art

Courtesy of Magazzino Italian Art. Photo by Marco Anelli and Tommaso Sacconi_©Alighiero Boetti by SIAE © Alighiero Boetti by SIAE_ARS 2026

“This exhibition stems from Magazzino’s ongoing commitment to developing an increasingly precise understanding of our collection,” explains Nicola Lucchi, Director of Magazzino Italian Art. “We are preparing guided tours and educational workshops for schools that will accompany this project, expanding its educational reach. We also look forward with particular interest to the publication of the catalogue, which will allow us to further consolidate and disseminate this line of research.”

Nancy Olnick and Giorgio Spanu, co-founders of Magazzino Italian Art, state: “The historic nucleus of works by Alighiero Boetti presented here, brought together thanks to the important relationship we have developed over the years with Gianfranco Benedetti from Galleria Christian Stein, now allows for a full critical reassessment of a foundational moment in the artist’s career and in the history of Arte Povera. We are also very pleased with the collaboration of the Fondazione Alighiero e Boetti for the symposium and of all those who made significant loans possible, contributing in a substantial way to the completeness of the exhibition project.”

Title image: Alighiero Boetti, Tutto, c. 1988. Embroidery on fabric, 28.5 x 48 in. (72.4 x 121.9 cm). Courtesy of Magazzino Italian Art. Photo by Marco Anelli © Alighiero Boetti by SIAE_ARS 202.6.

April 25, 2026

Wolfgang Amadeus Mozart: Treasures from the Mozarteum Foundation of Salzburg at The Morgan Library & Museum, through May 31, 2026

“In an unprecedented collaboration, the Morgan Library & Museum and the Mozarteum Foundation of Salzburg have partnered to organize Wolfgang Amadeus Mozart: Treasures from the Mozarteum Foundation of Salzburg, an exhibition that traces the extraordinary life and enduring legacy of Wolfgang Amadeus Mozart (1756–1791). On view March 13 through May 31, 2026, this two-gallery exhibition combines the Morgan’s significant holdings in Mozart manuscripts and first editions with remarkable objects, on view in the United States for the first time, from the Mozarteum Foundation of Salzburg. These include Mozart’s clavichord on which he composed The Magic Flute and his childhood violin, as well as famous portraits, letters, and personal objects of Mozart and his family.” — Morgan Library & Museum

“The Morgan is deeply grateful to the Mozarteum Foundation for its generous partnership and for opening its vaults so that we can present this comprehensive exhibition dedicated to one of the most significant figures in Western music,” said Colin B. Bailey, Katharine J. Rayner Director of the Morgan Library & Museum. “Mozart’s influence is still heard everywhere today, from piano lessons and concerts to children’s rhymes. Anchored around Mozart’s compositions, the exhibition will offer visitors an unprecedented opportunity to engage with the life and work of an artist whose music they recognize and hold dear.”

“The exhibition highlights the ways in which Mozart’s life and career were extraordinary even in his own time,” said Robinson McClellan, Mary Flagler Cary Curator of Music Manuscripts and Printed Music. “It gives insight into his environment and humanizes this great composer, illuminating his loves, passions, triumphs, and sorrows.”

Wolfgang Amadeus Mozart (1756–1791). Mozart’s earliest compositions [1761].
Andante in C (K. 1a), between February and April 1761. Musical Manuscript in the hand of Leopold Mozart . Allegro in C (K. 1b), between February and April 1761. Allegro in F (K. 1c), 11 December 1761. Minuet in F (K. 1d), 16 December 1761. The Morgan Library & Museum, Mary Flagler Cary Music Collection. Photography by Anthony Troncale

Michel-Barthélémy Ollivier (1712–1784). *English Tea in the Salon des Quatre-Glaces at the Maison du Temple,* 1770. Oil on canvas. Christopher J. Salmon Collection, New York. Formerly in the collection of Louis Philippe (1773–1850), Duc d’Orléans and future King of the French (r. 1830–48)

Pietro Antonio Lorenzoni (1721–1782). Mozart in Courtly Attire, Salzburg,1763
Oil on canvas. International Mozarteum Foundation Salzburg, Mozart Museums

Jean-Baptiste Delafosse (1721–1806), after Louis Carrogis de Carmontelle (1717–1806). The Mozart Family, Paris, 1764. Copperplate engraving. Christopher J. Salmon Collection, New York

Wolfgang Amadeus Mozart (1756–1791). Postscript to Leopold Mozart’s letter to Anna Maria and Maria Anna “Nannerl” Mozart, Wörgl, December 14, 1769. The Morgan Library & Museum. MLT M9397.M9395. Photography by Graham S. Haber

Wolfgang Amadeus Mozart (1756–1791). Letter to Leopold Mozart, April 4, 1787. Internationale Stiftung Mozarteum, Bibliotheca Mozartiana. Formerly in the collection of Maurice Sendak (1928–2012). International Mozarteum Foundaion, Salzburg

Wolfgang Amadeus Mozart (1756–1791). Piano Sonata No. 8 in A Minor (K. 310). Autograph manuscript, Paris, 1778. The Morgan Library & Museum, Robert Owen Lehman Collection, on deposit.
Photography by Janny Chiu

Wolfgang Amadeus Mozart (1756–1791). “Non so più cosa son, cosa faccio” (I do not know what I am, what I do). Aria from Le nozze di Figaro (The Marriage of Figaro, K. 492/6). Arranged for piano, violin, and voice by Mozart. Autograph manuscript, Vienna, late 1785/early 1786. The Morgan Library & Museum, Heineman Music Collection MS 157. Photography by Anthony Troncale

Josef Gail (1755–1830). Set design for act 2, scene 4, in the original production of *Die Zauberflöte (The Magic Flute*, K. 620), Vienna, 1791. Graphite and ink on paper. Christopher J. Salmon Collection, New York. Formerly in the Mayr-Fajt Collection of XVII and XIX Century Stage Designs

Title image: Attributed to Giambettino Cignaroli (1706–1770). Mozart in Verona [1770]. Oil on canvas. On loan to the Mozarteum from a private collection.International Mozarteum Foundation, Salzburg

Images courtesy Morgan Library & Museum.

April 16, 2026

Martin Puryear: Nexus at The Cleveland Museum of Art (CMA), April 12 through August 9, 2026

“The Cleveland Museum of Art (CMA) is pleased to present, a career survey of the preeminent sculptor Martin Puryear (American, b. 1941). For more than half a century, Puryear has captivated the public with works of astonishing beauty and elaborate craftsmanship whose sources of inspiration range from global cultures and social history to the natural world. Co-organized with the Museum of Fine Arts, Boston (MFA), Martin Puryear: Nexus is the first comprehensive exhibition of the artist’s work in nearly two decades. Assembling some 50 works from across Puryear’s career, the exhibition focuses on his use of a rich variety of materials and media—from sculptures in wood, rawhide, glass, marble, and metal, to rarely shown drawings, prints, and maquettes.” — The Cleveland Museum of Art

“Martin Puryear is best known for his sculptures, which are startingly beautiful abstract forms. But beyond their beauty, these works invite us to see with fresh eyes the world that we inhabit—they are timeless and contemporary all at once,” reflected Emily Liebert, Lauren Rich Fine Curator of Contemporary Art and Chair of Art of the Americas and Modern and Contemporary Art. “Puryear’s hands have been on every sculpture that leaves his studio. The thought, care, and precision lavished on each work of art by its maker is palpable.”

Gallery views of Martin Puryear: Nexus © Martin Puryear, Courtesy Matthew Marks Gallery. Photos by Shelly Duncan.

The exhibition is co-curated by Emily Liebert, Lauren Rich Fine Curator of Contemporary Art and Chair of Art of the Americas and Modern and Contemporary Art, The Cleveland Museum of Art, and Reto Thüring, Head of Culture at the Foundation for Art, Culture, and History in Winterthur, Switzerland and former Beal Family Chair, Department of Contemporary Art at the Museum of Fine Arts, Boston with Gabriella Shypula, Leigh and Mary Carter Director’s Research Fellow, The Cleveland Museum of Art. The MFA’s presentation is organized by Ian Alteveer, Beal Family Chair, Department of Contemporary Art with Daisy Alejandre, Curatorial Assistant, Contemporary Art. The High’s presentation is organized by Michael Rooks, Wieland Family Senior Curator of Modern & Contemporary Art.

Images courtesy The Cleveland Museum of Art.

April 14, 2026

Raphael: Sublime Poetry, March 29 to June 28, 2026 at The Metropolitan Museum of Art

“Raphael: Sublime Poetry, on view at The Metropolitan Museum of Art March 29 to June 28, 2026, will be the first comprehensive, international loan exhibition in the United States on Raphael (Raffaello di Giovanni Santi; 1483–1520), considered one of the greatest artists of all time. This landmark exhibition will explore the full breadth of his life and career, from his origins in Urbino to his prolific years in Florence, where he began to emerge as a peer to Leonardo da Vinci and Michelangelo, to his final decade at the papal court in Rome. Bringing together more than 200 works, including over 170 of Raphael’s most important drawings, paintings, tapestries, and decorative arts from public and private collections around the world, the exhibition will offer a fresh perspective on this defining figure of the Italian Renaissance, presenting his renowned masterpieces alongside rarely seen treasures to reveal an extraordinarily creative mind.”— The Metropolitan Museum of Art

Installation views of Raphael: Sublime Poetry, on view March 29–June 28, 2026 at The Metropolitan Museum of Art. Photos by Eileen Travell, Courtesy of The Met.

“This unprecedented exhibition will offer a groundbreaking look at the brilliance and legacy of Raphael, a true titan of the Italian Renaissance,” said Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer. “Visitors will have an exceptionally rare opportunity to experience the breathtaking range of his creative genius through some of the artist’s most iconic and seldom loaned works from around the globe—many never before shown together.”

“The seven-year journey of putting together this exhibition has been an extraordinary chance to reframe my understanding of this monumental artist,” said Carmen Bambach, the Marica F. and Jan T. Vilcek Curator in The Met’s Department of Drawings and Prints. “It is a thrilling opportunity to engage with his unique artistic personality through the visual power, intellectual depth, and tenderness of his imagery.”

Raphael: Sublime Poetry is curated by Carmen C. Bambach, the Marica F. and Jan T. Vilcek Curator in the Department of Drawings and Prints at The Metropolitan Museum of Art.

Title image: Raphael (Raffaello Sanzio or Santi), Italian, Urbino 1483–1520 Rome. The Virgin and Child with the Infant Saint John the Baptist in a Landscape (The Alba Madonna), ca. 1509-11. Oil on canvas, transferred from wood. 37 3/16 in. (94.5 cm). Framed: 55 1/4 in. x 6 1/4 in. (140.3 x 15.9 cm). National Gallery of Art, Washington, D.C. (1937.1.24). Lender Obj. No.: 1937.1.24

Images courtesy The Metropolitan Museum of Art.

March 12, 2026

Whitney Biennial 2026 at Whitney Museum of American Art, March 8, 2026 – August 23, 2026

“Opening March 8, the Whitney Museum of American Art presents Whitney Biennial 2026, the 82nd edition of the Museum’s landmark exhibition series and the longest-running survey of American art. Featuring fifty-six artists, duos, and collectives across most of the Museum’s galleries, the Biennial is accompanied by a robust schedule of performance and public programs at the Museum and online. Co-organized by Marcela Guerrero and Drew Sawyer, the exhibition brings together artists working across media and disciplines, reflecting evolving notions of American art.

Whitney Biennial 2026 offers a vivid, atmospheric survey shaped by a moment of profound complexity. The work on view examines varied forms of relationality, from interspecies and familial kinships to geopolitical entanglements, technological affinities, shared mythologies, and the infrastructures that support and constrain contemporary life. Rather than offering a definitive answer to life today, the exhibition foregrounds mood and texture, inviting visitors into environments that evoke tension, tenderness, humor, and unease, while proposing imaginative, unruly, and unexpected forms of coexistence.”— Whitney Museum of American Art

Installation view of *Whitney Biennial 2026* (Whitney Museum of American Art, March 8–August 2026). Zach Blas, *CULTUS*, 2023. Photograph by Darian DiCanno/BFA.com. © BFA 2026

Installation view of Whitney Biennial 2026 (Whitney Museum of American Art, March 8–August 2026). José Maceda and Aki Onda, Ugnayan, 1974/2026. Photograph by Darian DiCanno/BFA.com. © BFA 2026

Installation view of *Whitney Biennial 2026* (Whitney Museum of American Art, March 8–August 2026). Photograph by Darian DiCanno/BFA.com. © BFA 2026

Installation view of *Whitney Biennial 2026* (Whitney Museum of American Art, March 8–August 2026). Photograph by Jason Lowrie/BFA.com. © BFA 2026

Installation view of *Whitney Biennial 2026* (Whitney Museum of American Art, March 8–August 2026). Photograph by Jason Lowrie/BFA.com. © BFA 2

Installation view of *Whitney Biennial 2026* (Whitney Museum of American Art, March 8–August 2026). From left to right: Agosto Machado, *Shine (Green)*, 2022; Agosto Machado, *Anna May Wong (Altar)*, 2025. Photograph by Jason Lowrie/BFA.com. © BFA 2026

Whitney Biennial 2026 is co-organized by Whitney curators Marcela Guerrero, DeMartini Family Curator, and Drew Sawyer, Sondra Gilman Curator of Photography, with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow.

Title image: Installation view of Whitney Biennial 2026 (Whitney Museum of American Art, March 8–August 2026). From left to right: Emilie Louise Gossiaux, Kong Play, 2026; Emilie Louise Gossiaux, Becoming Part of the Forest 2, 2025; Emilie Louise Gossiaux, The Marriage of Hand and Paw, 2025; Emilie Louise Gossiaux, In Dreams We’ll See Again, 2025; Andrea Fraser, Untitled (I-V), 2024; Carmen de Monteflores, Four Women, 1969. Photograph by Darian DiCanno/BFA.com. © BFA 2026

Images courtesy Whitney Museum of American Art.

March 9, 2026

Carol Bove at Guggenheim New York, March 5-August 2, 2026

“Carol Bove is the first museum survey and largest exhibition to date of the work of American artist Carol Bove (b. 1971, Geneva, Switzerland; lives and works in New York). The presentation transforms the entire Frank Lloyd Wright–designed rotunda, with sculptures, installations, paintings, and works on paper integrated into an exhibition design that foregrounds the unique spatial dynamics of Wright’s architecture. It traces pivotal shifts in the artist’s career across more than 25 years and debuts two new bodies of work: a monumental group of her steel compositions known as ‘collage sculptures’ conceived for the space and a series of wall-mounted aluminum panel works. Bove’s inventive practice ranges widely, from assemblages of paperback books and intimate paper collages to towering metal sculptures. She explores the workings of perception through her experiments with surface, color, scale, and space, inviting viewers into moments of heightened imaginative awareness.”— Guggenheim New York

As Katherine Brinson, Daskalopoulos Senior Curator of Contemporary Art and Director of Global Initiatives, states, “This survey exhibition marks the first opportunity to see the full arc of Bove’s career, putting her early and more recent bodies of work in generative dialogue. At the same time, it coheres into a single artistic statement, animating the Frank Lloyd Wright spiral with color and form while creating opportunities for rest and active play.”

Carol Bove, *Vase Face I / The Ascent to Heaven on a Dentist’s Chair*, 2022. Stainless steel and laminated glass with heat-fused ink, 85 × 87 × 57 1/2 in. (215.9 × 221 × 146.1 cm). Collection of the artist. © Carol Bove Studio LLC. Photo: Maris Hutchinson

Installation view, *Carol Bove*, March 5, 2026–August 2, 2026, Solomon R. Guggenheim Museum, New York. Photo: David Heald © Solomon R. Guggenheim Foundation, New York

Carol Bove, *Offenbach Barcarolle*, 2019. Found steel, stainless steel, and urethane paint, 82 1/2 × 76 × 41 in. (209.6 × 193 × 104.1 cm). Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the International Director’s Council, and partial gift of David Zwirner 2023.11. © Carol Bove Studio LLC. Photo: Maris Hutchinson

Carol Bove, *Cutting Corners*, 2018. Stainless steel and urethane paint, 35 7/8 × 38 7/8 × 38 5/8 in. (91.1 × 98.7 × 98.1 cm). Private collection. © Carol Bove Studio LLC. Photo: Maris Hutchinson/EPW Studio

Carol Bove is organized by Katherine Brinson, Daskalopoulos Senior Curator of Contemporary Art and Director of Global Initiatives, with support from Charlotte Youkilis, Curatorial Assistant, Exhibitions, and Bellara Huang, former Curatorial Assistant, Exhibitions.

Title image: Carol Bove, Cutting Corners, 2018 (detail). Stainless steel and urethane paint, 35 7/8 × 38 7/8 × 38 5/8 in. (91.1 × 98.7 × 98.1 cm). Private collection. © Carol Bove Studio LLC. Photo: Maris Hutchinson/EPW Studio.

Images courtesy Guggenheim New York.

March 8, 2026

Lillian Bassman: Bazaar and Beyond, March 2-July 26, 2026 at The Metropolitan Museum of Art

“The Metropolitan Museum of Art introduces an exhibition of daring work by the fashion photographer and art director Lillian Bassman (American, 1917–2012). Lillian Bassman: Bazaar and Beyond, on view through July 26, 2026, presents Bassman’s provocative vision for the mid-century American magazine. In this exhibition of more than 60 works are inventive layout designs, editorial assignments, and darkroom experiments with which Basman advanced new possibilities for photography in print.”— The Met

“Lillian Bassman: Bazaar and Beyond shows an outstanding photographer and trailblazing art director transforming magazine pages into a premier artistic project of experimentation and impact,” said Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer. “We are proud to continue to celebrate extraordinary fashion photography as a catalyst of profound innovation and expression.”

Lillian Bassman (American, 1917–2012). Variant of *The Yellow Smock Coat*, 1950. Gelatin silver print. 13 1/4 × 10 1/2 in. (33.7 × 26.7 cm). The Metropolitan Museum of Art, New York, Gift of Lizzie and Eric Himmel, 2025 (2025.889.22)
© Estate of Lillian Bassman

Lillian Bassman (American, 1917–2012). Variant of *Perfecting the Line*. 1955. Gelatin silver print. 12 1/8 × 9 1/4 in. (30.8 × 23.5 cm). The Metropolitan Museum of Art, New York, Gift of Lizzie and Eric Himmel, 2025 (2025.889.31)
© Estate of Lillian Bassman

Lillian Bassman (American, 1917–2012). *A Report to Skeptics*, 1952. Gelatin silver print. 8 3/4 × 12 1/2 in. (22.2 × 31.8 cm). The Metropolitan Museum of Art, New York, Gift of Lizzie and Eric Himmel, 2025 (2025.889.27)
© Estate of Lillian Bassman

Lillian Bassman (American, 1917–2012). *Summer Supplements: Daytime Editions*, 1959. Gelatin silver print. 11 × 14 in. (27.9 × 35.6 cm). The Metropolitan Museum of Art, New York, Gift of Lizzie and Eric Himmel, 2025 (2025.889.36) © Estate of Lillian Bassman

Lillian Bassman (American, 1917–2012) Variant of *The Wonders of Water*. 1959. Platinum print, ca. 2007. 30 × 26 in. (76.2 × 66 cm). The Metropolitan Museum of Art, New York, Gift of Lizzie and Eric Himmel, 2025 (2025.889.35)
© Estate of Lillian Bassman

“Lillian Bassman: Bazaar and Beyond represents a homecoming of sorts for Bassman, who spent much of her free time exploring The Met. When she began her career in fashion photography, she had no formal training in design houses or haute couture; instead, she encountered an entire history of dress unfolding in the galleries of the Museum. Recalling frequent visits with her husband, she later observed, ‘We were only interested in getting our education from The Met. That’s where I immersed myself in fashion.’ Decades later, this exhibition places her work back in conversation with the collections that first inspired it.” — The Met

Lillian Bassman: Bazaar and Beyond is curated by Virginia McBride, Assistant Curator in the Department of Photographs at The Metropolitan Museum of Art. Works from the Estate of Lillian Bassman are the gift of Bassman’s children, Lizzie and Eric Himmel. This acquisition was assembled by Mia Fineman and Virginia McBride, Curator in the Department of Photographs.

Title image: Lillian Bassman (American, 1917–2012). Solarized fashion study, ca. 1960. Gelatin silver print. 13 × 11 in. (33 × 27.9 cm). The Metropolitan Museum of Art, New York, Gift of Lizzie and Eric Himmel, 2025 (2025.889.34) © Estate of Lillian Bassman

Images courtesy The Metropolitan Museum of Art.