Arts Summary

November 24, 2025

Rodin’s Egypt at NYU’s Institute for the Study of the Ancient World (ISAW), November 19, 2025-March 15, 2026

“NYU’s Institute for the Study of the Ancient World (ISAW) presents Rodin’s Egypt, an exhibition focused on the world-famous French sculptor Auguste Rodin (1840–1917) and his robust collection of ancient Egyptian art. Opening on November 19, 2025, the exhibition brings together more than 60 objects that include Rodin’s sculptures and antiquities from his collection, illuminating the ways in which Rodin’s creative process was clearly inspired by these ancient works.” — ISAW

“Rodin’s Egypt is the product of a profound collaboration between colleagues in Paris and New York. The exhibition brings more than 60 objects from the Musée Rodin, which together illustrate the range of inspirations Rodin found in Egyptian material and the variety of his responses to it. Through it, we invite visitors to juxtapose two aesthetics of corporeality, that of ancient Egypt and Rodin’s very different vision, and to think about the various kinds of connection represented by the dialogue between them,” stated Greg Woolf, Leon Levy Director of NYU’s ISAW.

Auguste Rodin. Female nude seated on a lug handled vase,
1895–1910 (figure); 3500– 2900 BCE (Predynastic Period) (vase).
Plaster (figure) and Travertine (vase). Egypt; Findspot unknown (vase). H. 23.7 cm; W. 13.2 cm; D. 11.5 cm. Donation Rodin 1916.
Musée Rodin

Naophorous (shrine) statue of Ra-Horakhty. 1550–332 BCE (New Kingdom – Late Period). Painted limestone. Egypt; Findspot unknown. H. 65 cm; W. 28.5 cm; D. 8.5 cm. Donation Rodin 1916. Musée Rodin

Auguste Rodin. Balzac (Final Study), 1897. Plaster.
H. 109 cm; W. 44 cm; D. 41 cm. Donation Rodin 1916. Musée Rodin

Block Naophorous (shrine) statue of a man. 1295–1070 BCE (New Kingdom). Diorite. Egypt, findspot unknown. H. 44.5 cm; W. 24.2 cm; D. 13.7 cm. Donation Rodin 1916. Musée Rodin.

Curated by Bénédicte Garnier, curator at the Musée Rodin in Paris, Rodin’s Egypt features loans from the Musée Rodin, with additional items from The Metropolitan Museum of Art in New York. The exhibition and its accompanying catalogue were made possible by the generous support of the Leon Levy Foundation.

“This is the very first time that the masterpieces of Rodin’s Egyptian collection are exhibited in the United States. Bénédicte Garnier has been working for more than 15 years to document, restore, and make accessible the collection. She collaborated with Dr. Roberta Casagrande-Kim, former Bernard and Lisa Selz Director of Exhibitions and Gallery Curator at ISAW to create a particularly illuminating journey. It took the curiosity and courage of ISAW to organize an exhibition that is both beautiful and demanding, reflecting the most cutting-edge research. I invite you to immerse yourselves in this fountain of youth!,” added Amélie Simier, Director of Musée Rodin.

Title image: Auguste Rodin. Le Succube (The Succubus), 1888 (model), 1890 (casting). Bronze. H. 23 cm; W. 16.6 cm; D. 17 cm. Musée Rodin.

Images courtesy NYU’s Institute for the Study of the Ancient World (ISAW).

November 19, 2025

Wifredo Lam: When I Don’t Sleep, I Dream at The Museum of Modern Art, November 10, 2025–April 11, 2026

“The Museum of Modern Art presents Wifredo Lam: When I Don’t Sleep, I Dream, the most extensive retrospective devoted to the artist in the United States, on view at MoMA from November 10, 2025, through April 11, 2026. Spanning the six decades of Lam’s prolific career, the exhibition includes more than 130 artworks from the 1920s to the 1970s—including paintings, large-scale works on paper, collaborative drawings, illustrated books, prints, ceramics, and archival material—with key loans from the Estate of Wifredo Lam, Paris. The retrospective reveals how Lam—a Cubanborn artist who spent most of his life in Spain, France, and Italy—came to embody the figure of the transnational artist in the 20th century. Wifredo Lam: When I Don’t Sleep, I Dream is organized by Christophe Cherix, The David Rockefeller Director, and Beverly Adams, The Estrellita Brodsky Curator of Latin American Art, with Damasia Lacroze, Curatorial Associate, Department of Painting and Sculpture, and Eva Caston, Curatorial Assistant, Department of Drawings and Prints.” — The Museum of Modern Art

Installation view of *Wifredo Lam: When I Don’t Sleep, I Dream* on view at The Museum of Modern Art, New York, from November 10, 2025, through April 11, 2026. Photo by Jonathan Dorado.

Wifredo Lam with La jungla (The Jungle) (1942–43), left, *La mañana verde (The Green Morning)* (1943), right, and *La silla (The Chair)* (1943), on the floor, in his Havana studio, 1943. Archives SDO Wifredo Lam, Paris

“Lam’s visionary commitment to making his painting an ‘act of decolonization,’ as he put it, forever changed modern art,” said Cherix. “He insisted on placing diasporic culture at the heart of modernism—not as a peripheral influence, but as central, a generative force.”

“His radically inventive works continue to speak to us across time,” said Adams. “The realities he confronted—colonialism, racism, exile, and displacement—remain as urgent today as they were in his lifetime.”

Titlle image: Installation view of Wifredo Lam: When I Don’t Sleep, I Dream on view at The Museum of Modern Art, New York, from November 10, 2025, through April 11, 2026. Photo by Jonathan Dorado.

Images courtesy The Museum of Modern Art.

November 18, 2025

Guggenheim New York presents Gabriele Münter: Contours of a World, November 7, 2025–April 26, 2026

“The Guggenheim New York presents the first monographic exhibition in the United States on the German artist Gabriele Münter (b. 1877, Berlin; d. 1962, Murnau am Stafflesee, Germany) in nearly thirty years. Münter was a critical figure in the advancement of modernism in early twentieth-century Europe. Gabriele Münter: Contours of a World will focus on her heightened Expressionist production from around 1908 to 1920, while also highlighting her later developments. The presentation will comprise some sixty paintings and nineteen of her early photographs across three galleries. Taken during Münter’s travels around the southern and midwestern U.S. at the turn of the twentieth century, these photographs will be exhibited in this country for the first time.

Gabriele Münter: Contours of a World will illuminate Münter’s disruptive and underrecognized practice while challenging historical narratives that have sidelined women artists. For decades, Münter has been relegated to a minor figure in the history of German Expressionism and the Blaue Reiter (Blue Rider, 1911–14) movement, overshadowed by her then-companion and creative partner, Vasily Kandinsky. This exhibition corrects that framing, establishing Münter as a prolific and innovative artist who created significant work across mediums and movements throughout her long career. The show’s counter-canonical approach builds on the Guggenheim’s legacy of upending traditional art-historical frameworks and upholding radical art in all its forms.” — Guggenheim New York

Gabriele Münter, *Future (Woman in Stockholm) (Zukunft [Dame in Stockholm])*, 1917. Oil on canvas, 38 3/8 × 25 1/8 in. (97.5 × 63.8 cm). The Cleveland Museum of Art, Gift of Mr. and Mrs. Frank E. Taplin Jr. © 2025 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Photo: Courtesy The Cleveland Museum of Art

Gabriele Münter, *Dragon Fight (Drachenkampf)*, 1913. Painting on board, 14 1/16 × 17 1/8 in. (35.7 × 43.5 cm). The Gabriele Münter and Johannes Eichner Foundation, Munich V117. © 2025 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Photo: Centre Pompidou, MNAM-CCI/Georges Meguerditchian/Dist. GrandPalaisRmn / Art Resource, NY

Gabriele Münter, *From the Griesbräu Window (Vom Griesbräu Fenster)*, 1908. Painting on board, 13 × 15 13/16 in. (33 × 40.1 cm). Städtische Galerie im Lenbachhaus und Kunstbau München, On permanent loan from the Gabriele Münter and Johannes Eichner Foundation, Munich L142. © 2025 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

Gabriele Münter, *Breakfast of the Birds (Das Frühstück der Vögel)*, March 10, 1934. Oil on board, 18 × 21 3/4 in. (45.7 × 55.2 cm). National Museum of Women in the Arts, Washington, D.C., Gift of Wallace and Wilhelmina Holladay. © 2025 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Photo: Courtesy National Museum of Women in the Arts

“Münter’s unwavering curiosity about the world around her shaped both her life and art. She wielded color and line in remarkable ways, and this spirit of exploration led her to become a uniquely international artist,” says Megan Fontanella, Curator, Modern Art and Provenance, Guggenheim New York. “A formative trip to the United States around the turn of the twentieth century sparked her creative vision, as she pursued art through the medium of photography. To now organize her debut exhibition at a New York museum, 125 years later, is both extraordinary and long overdue.”

Gabriele Münter: Contours of a World is organized by Megan Fontanella, Curator, Modern Art and Provenance, Guggenheim New York. The photography selection is cocurated with Victoria Horrocks, Curatorial Fellow, Photography, Guggenheim New York.

Title image: Gabriele Münter, Head of a Young Girl (Junges Mädchen), 1908. Oil on board, 16 × 13 in. (40.6 × 33 cm). Des Moines Art Center, Mildred M. Bohen Collection. © 2025 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Photo: Courtesy Des Moines Art Center

Images courtesy Guggenheim New York.

November 11, 2025

Manu-Facture: The Ceramics of Lucio Fontana at Peggy Guggenheim Collection, Venice, October 11, 2025 – March 2, 2026

“The Peggy Guggenheim Collection presents “Manu-Facture: The Ceramics of Lucio of Fontana, the first museum exhibition dedicated exclusively to the ceramic work of Lucio Fontana (1899–1968), one of the most innovative, and in his unique way irreverent, artists of the twentieth century. While Fontana is best known for his iconic, slashed and punctured canvases of the 1950s and ‘60s, this exhibition casts a spotlight on a lesser-known but essential part of his oeuvre: his work in clay, which he began in Argentina in the 1920s and continued to explore throughout his life. Organized by art historian Sharon Hecker, this is the first solo show to offer an in-depth examination of Fontanaʼs ceramic production.” — Peggy Guggenheim Collection

As Hecker notes: “Long associated with craft rather than fine art, today Fontanaʼs ceramics are receiving attention due to the resurgence of interest in the medium within contemporary art.”

“Between suicide and travel, I chose the latter because I hope to still make a series of ceramics and sculptures that give me the pleasure or feeling of still being a living man.” — Lucio Fontana

© *Manu-Facture: The Ceramics of Lucio Fontana*, October 11, 2025 – March 2, 2026, Peggy Guggenheim Collection. Photo: Claudia Corrent

Lucio Fontana in his studio with “Nature”, 1959-1960 © Fondazione Lucio Fontana, Milano, by SIAE 2025

Title image: Lucio Fontana. Portrait of Esa. Glazed ceramic: white, brown and pink, cm 57 x 43 x 27. Private Collection. © Fondazione Lucio Fontana, Milano, by SIAE 2025 © Fondazione Lucio Fontana, Milano, by SIAE 2025

Images courtesy Peggy Guggenheim Collection.

October 30, 2025

Renoir Drawings, October 17, 2025 – February 8, 2026 at The Morgan Library and Museum

“The Morgan Library & Museum presents Renoir Drawings, the first comprehensive exhibition in more than a century devoted to the works on paper of Pierre-Auguste Renoir (1841–1919). On view from October 17, 2025, through February 8, 2026, the exhibition explores Renoir’s engagement with draftsmanship across his long and influential career. Organized with the Musée d’Orsay, Paris, Renoir Drawings brings together over one hundred drawings, pastels, watercolors, prints, and paintings, inviting visitors to engage with Renoir’s creative process while offering insights into his artistic methods across five decades.

While Renoir’s paintings have become icons of Impressionism, his drawings are less well-known. Yet beginning in his earliest days as an artist-in-training and continuing until his very last years, Renoir regularly drew and painted on paper in a variety of media. The first comprehensive exhibition devoted to his drawings since Aquarelles, pastels et dessins par Renoir in 1921 at the Galeries Durand-Ruel, in Paris, Renoir Drawings assembles outstanding examples of all the media on paper in which Renoir worked, from pencil, pen and ink, chalk, pastel, and watercolor to etching and lithography. ” — The Morgan Library & Museum

*The Great Bathers*, 1886–87. Oil on canvas. Philadelphia Museum of Art. The Mr. and Mrs. Carroll S. Tyson, Jr. Collection, 1963, 1963-116-13

*View of a Park*, ca. 1885–90. Watercolor with white opaque watercolor on paper. Thaw Collection, The
Morgan Library & Museum. Photography by Graham S. Haber, 2017.

*Child with an Apple or Gabrielle, Jean, and a Young Girl with an Apple*, ca. 1895. Pastel. Collection of Leone Cettolin Dauberville. Photo © Jean-Louis Losi, Paris

*Seated Woman Leaning on Her Elbow*, ca. 1915–17. Black chalk. The Albertina Museum, Vienna; inv. 24330. Image: The ALBERTINA Museum, Vienna.

Study for *“The Judgment of Paris,”* ca. 1908. Black, red, and white chalk. The Phillips Collection, Washington, DC;. 1636, Acquired 1940.

Auguste Renoir (1841–1919) and Richard Guino. (1890–1973). *The Judgment of Paris*, 1914. Patinated plaster. Musée d’Orsay, Paris; RF 2745. Musée d’Orsay, dist. GrandPalaisRmn.. Photography by René-Gabriel Ojéda

“Renoir’s drawings reveal an artist of tremendous sensitivity and range,” said Colin B. Bailey, curator of the exhibition and Katharine J. Rayner Director of the Morgan Library & Museum. “This exhibition brings together rarely seen works on paper to provide a more complete view of Renoir’s creative process, offering visitors a fresh perspective on one of the most well-known and influential painters of the nineteenth and twentieth centuries.” Renoir Drawings, the first exhibition at the Morgan to be curated by Dr. Bailey, coincides with his tenth anniversary as its director. He is a noted specialist in eighteenth-century French art and a recognized authority on Renoir.

Organized by Colin B. Bailey, Katharine J. Rayner Director, and Sarah Lees, Research Associate to the Director.

Titlle image: Auguste Renoir (French, 1841–1919). Portrait of a Girl (Elisabeth Maître), 1879. Pastel on Ingres paper. The ALBERTINA Museum, Vienna – The Batliner Collection | Image: The ALBERTINA Museum, Vienna.

Images courtesy The Morgan Morgan Library & Museum.

October 28, 2025

Anish Kapoor: Early Works at Jewish Museum, October 24, 2025 through February 1, 2026

“This fall the Jewish Museum presents the first American museum exhibition to focus solely on the formative early work of renowned artist Anish Kapoor. These rarely seen works include Kapoor’s striking pigment sculptures, together with works on paper and sketchbooks. On view from October 24, 2025, through February 1, 2026, Anish Kapoor: Early Works reveals the experimental proclivities of a trailblazing artist at the beginning of his career. The exhibition opens concurrently with the Jewish Museum’s inauguration of its newly transformed collection galleries and learning center.” — The Jewish Museum

“The Jewish Museum has a long tradition of presenting contemporary art as part of its ongoing commitment to exploring the narrative of shared humanity worldwide, together with the rich diversity of the global Jewish experience,” said James Snyder, Helen Goldsmith Menschel Director. “Anish Kapoor: Early Works reinforces this mission by exploring the boundary-pushing practice of one of the most influential artists of our time, while also highlighting themes of ritual, perception, and the power of materiality that resonate across the diversity of world cultures and histories.”

Anish Kapoor’s studio, 1980. © Anish Kapoor. All Rights Reserved, DACS, London/ ARS, NY 2025

Anish Kapoor’s studio, 1982. © Anish Kapoor. All Rights Reserved, DACS, London/ ARS, NY 2025

Anish Kapoor, *White Sand, Red Millet, Many Flowers*, 1982, mixed media, pigment. Dimensions variable. © Anish Kapoor. All Rights Reserved, DACS, London/ ARS, NY 2025

“These extraordinary early works are virtually unknown to American audiences and represent a side of Kapoor that will be revelatory,” said Darsie Alexander, Senior Deputy Director and Susan and Elihu Rose Chief Curator. “Our show offers a rare glimpse into Kapoor’s process of pairing of color and form to explore the spiritual, psychic, and physical possibilities of sculpture. A keen eye towards the placement of objects transforms how they are perceived by viewers and foretells a future making environmental works on a much larger scale. We are thrilled to be organizing this effort in collaboration with the artist.”

This exhibition is organized by the Jewish Museum’s Senior Deputy Director and Susan and Elihu Rose Chief Curator Darsie Alexander and Leon Levy Associate Curator Shira Backer, in close collaboration with the artist and his studio.

Images courtesy The Jewish Museum.

October 28, 2025

Jewish Museum Debuts Its Newly Transformed Collection Galleries and Learning Center

“The Jewish Museum debuts its reinstalled and reimagined collection galleries and new learning center on October 24, 2025. Marking the most significant renewal to the Jewish Museum in over 30 years, the $14.5-million project encompasses half of the public space within the Museum’s historic Warburg Mansion and centers cultural exchange and discovery as defining elements of the visitor experience. Central to this transformation is the integration of galleries and education spaces open to all on the Museum’s fourth floor, and the debut of a new collection installation and narrative on the third floor, tracing themes that have defined Jewish experience and highlighting histories resonant with those of other cultures.

Featuring more than 200 works, Identity, Culture, and Community: Stories from the Collection of the Jewish Museum unfolds across the Museum’s third floor in a thematic and chronologically integrated presentation of its unparalleled holdings. The installation design supports the display of art and objects of vastly varying scale and materiality, from delicate archaeological artifacts and Jewish ceremonial works to large-scale contemporary painting and sculpture. The Museum’s renewed and newly opened fourth floor features the Pruzan Family Center for Learning, where art and objects from the collection are displayed in gallery settings, adjacent to facilities for educational programming and hands-on artmaking. These two floors are joined visually by a renovated double-height gallery crowned by a dramatic, monumentally scaled installation ofmore than 130 Hanukkah lamps from around the world, and from antiquity to the present day, underscoring the central meaning of light as a symbol of enlightenment and hope across cultures.”
— Jewish Museum

Installation view of “Identity, Culture, and Community: Stories from the Collection of the Jewish Museum.” Photo: Kris Graves/The Jewish Museum.

Installation view of the Pruzan Family Center for Learning at the Jewish Museum. Photo: Kris Graves/The Jewish Museum.

“This milestone moment heralds a new chapter for the Jewish Museum. The Museum’s collections and programming have always been distinguished by their unique focus on the myriad manifestations of Jewish culture through the lens of art, offering powerful examples of cultural and artistic exchange. With this reimagining of our collection and education galleries, we hope visitors discover new points of connection and deepen their appreciation of the traditions that have shaped the Jewish experience throughout the global diaspora and in resonance with other cultures,” said James S. Snyder, Helen Goldsmith Menschel Director.

The architectural design of the project was developed by UNS (United Network Studio), Amsterdam, and New Affiliates Architecture, New York, with Method Design, New York, as Architect of Record.

October 18, 2025

Amazonia Açu at Americas Society, September 3, 2025 through April 18, 2026

“Americas Society presents Amazonia Açu, an exhibition that sheds light on the multiplicities of the Amazon, a region which comprises many different communities each distinguished by its own belief system, culture, and language. On view from September 3, 2025 to April 18, 2026, the show includes paintings, textiles, ceramics, drawings, videos, photographs, and sculptures from artists and collectives of all nine countries of the Pan-Amazon region: Bolivia, Brazil, Colombia, Ecuador, French Guiana, Guyana, Peru, Suriname, and Venezuela.

Amazonia Açu features over fifty contemporary artworks, from 1990 to the present. The exhibition provides a kaleidoscopic overview of the aesthetic, cultural, and material diversity found in the Amazon as a means to upend flattening generalizations typically associated with the territory and to frame the discourse surrounding the region within a context.” — Americas Society

“The ‘Amazonia Açu’ — the latter a Tupi-Guaraní word for ‘large’ or ‘expanded’ —is not only the largest carbon sink on Earth and a sanctuary of biodiversity, but also home to hundreds of languages and other forms of cultural expression,” said Aimé Iglesias Lukin, Americas Society’s Director and Chief Curator of Art. “The exhibition aims to highlight the diversity of the region, encouraging future research and other exhibition projects to expand study of the territory.”

Installation views of “Amazonia Açu”, on view September 3, 2025 to April 18, 2026 at Americas Society, Photos by Arturo Sanchez. Courtesy Americas Society.

“Very much like Amazonia, the exhibition is not self-contained. It is a space of openness, interconnection, and meeting. Each work selected, each narrative constructed, carries within itself a story that adds to other stories, creating a collective quilt,” said Eleison. “The curators, all from different Amazonian territories, are more than art mediators; they are guardians of their cultures, histories, and worldviews. They invite us to look beyond stereotypes of the Amazon, listen to its deeper tones, connect ourselves with its subtler layers.”

The show is co-curated by a committee of representatives from each country within the Amazon region: Curatorial Advisor Keyna Eleison and Mateus Nunes, of B razil, Elvira Espejo Ayca of Bolivia, María Wills of Colombia, Diana Iturralde of Ecuador, T2i and NouN of French Guiana, Grace Aneiza Ali of Guyana, Christian Bendayán of Peru, Miguel Keerveld of Suriname and Luis Romero of Venezuela.

October 17, 2025

Ruth Asawa: A Retrospective at The Museum of Modern Art, October 19, 2025 – February 7, 2026

“The Museum of Modern Art announces Ruth Asawa: A Retrospective, the first major museum exhibition to fully consider every aspect of the artist’s expansive, groundbreaking practice, on view from October 19, 2025, through February 7, 2026, in the Steven and Alexandra Cohen Center for Special Exhibitions. Coinciding with the centennial of the artist’s birth, the exhibition will include some 300 objects that highlight the core values of experimentation and interconnectedness pervading all dimensions of Asawa’s practice. The retrospective will span the six decades of Asawa’s ambitious career, presenting a range of her work across mediums, including wire sculptures, bronze casts, paper folds, paintings, and a comprehensive body of works on paper. Artworks will be accompanied by a rich array of archival materials—photographs, documents, and ephemera—that illuminate her public commissions, art advocacy, and meaningful, lasting relationships with members of her community. The exhibition will follow a loose chronological arc, interwoven with thematic sections elaborating on the artist’s inspirations and methods.” — The Museum of Modern Art

“What’s exceptional about Asawa’s practice is the multiplicity of her artistic pursuits and the marvelous ability to turn the simplest things into subjects of lifelong creative contemplation,” said Manes. “The exhibition aims to offer multiple points of entry into her work, reflecting what Asawa described as the ‘total act’ of artmaking.”

nstallation view of *Ruth Asawa: A Retrospective* on view at The Museum of Modern Art from October 19, 2025, through February 7, 2026. The Museum of Modern Art, New York. Digital Image © 2025 The Museum of Modern Art, New York. Photo by Jonathan Dorado.

Installation view of *Ruth Asawa: A Retrospective* on view at The Museum of Modern Art from October 19, 2025, through February 7, 2026. The Museum of Modern Art, New York. Digital Image © 2025 The Museum of Modern Art, New York. Photo by Jonathan Dorado.

Ruth Asawa: A Retrospective is an exhibition partnership between the San Francisco Museum of Modern Art (SFMOMA) and The Museum of Modern Art, New York (MoMA). The exhibition is organized by Cara Manes, Associate Curator, Department of Painting and Sculpture, MoMA, and Janet Bishop, Thomas Weisel Family Chief Curator, SFMOMA; with Dominika Tylcz, Curatorial Assistant, Department of Painting and Sculpture, MoMA; and Marin Sarvé-Tarr, Assistant Curator, and William Hernández Luege, former Curatorial Associate, Painting and Sculpture, SFMOMA.

Images courtesy The Museum of Modern Art.

October 8, 2025

Divine Egypt at The Metropolitan Museum of Art, October 12, 2025 – January 19, 2026

“Divine Egypt at The Metropolitan Museum of Art—the first major exhibition of Egyptian art at the Museum in over a decade—will explore how images of gods in ancient Egypt were experienced not merely as spiritual depictions in temples, shrines, and tombs but were the instruments that brought the gods to life for daily worship, offering ancient Egyptians a vital connection between the human and divine worlds. Opening on October 12, the exhibition will bring together over 200 spectacular works of art to examine the imagery associated with the most important deities in ancient Egypt’s complex and always-expanding constellation of gods.” — The Metropolitan Museum of Art

“Divine Egypt will immerse visitors in the breathtaking imagery of the most formidable ancient deities and expansive universe of the Egyptian gods,” said Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer. “The Museum’s galleries for Egyptian art are among the most beloved by our millions of yearly visitors, and this dazzling exhibition brings together some of our most exquisite works with loans from leading global institutions for an exceptional, once-in-a-lifetime exhibition of ancient Egyptian art.”

Goddess Hathor, King Menkaure, and the Deified Hare. nome. ca. 2490–2472 BCE. Stone, Greywack. Museum of Fine Arts, Boston (09.200). Photograph © 2025 Museum of Fine Arts, Boston

Statue group of the god Horus and the king Horemheb. ca. 1323–1295 BCE. Stone, limestone. Kunsthistorisches Museum, Vienna, Egyptian and Near Eastern Collection (AE INV 8301). Photo by Anna-Marie Kellen © The Metropolitan Museum of Art

Statuette of Osiris. 664–332 B.C. Leaded bronze. The Metropolitan Museum of Art, New York, Rogers Fund, 1961 (61.45). Photo by Anna-Marie Kellen © The Metropolitan Museum of Art

Statuette of Amun. ca. 945–712 B.C.. Gold. The Metropolitan Museum of Art, New York, Edward S. Harkness Gift, 1926 (26.7.1412). Photo by Anna-Marie Kellen © The Metropolitan Museum of Art

Relief of the Goddess Maat. ca. 1294‒1279 BCE. Stone, limestone, paint Museo Archeologico Nazionale di Firenze, Florence (2469). Photo by Anna-Marie Kellen © The Metropolitan Museum of Art

“The ways in which the ancient Egyptian gods were depicted are vastly different from the divine beings in contemporary religions and therefore are intriguing to modern audiences,” said Diana Craig Patch, Lila Acheson Wallace Curator in Charge of Egyptian Art. “The identity of an ancient Egyptian god may at first seem easy to recognize but looks can be deceiving, as one form can be shared by many deities. Across more than 3,000 years of history, gods, attributes, roles, and myths were rarely dropped from use, yet the Egyptians of the time had no difficulty understanding and accepting the resulting multiplicity. Through hundreds of spectacular objects, Divine Egypt will allow visitors to understand the complex nature of these deities and help translate the images that were needed to make the inhabitants of the celestial realm available to ancient Egyptians.”

Divine Egypt is curated by Diana Craig Patch, Lila Acheson Wallace Curator in Charge of Egyptian Art at The Met, with Brendan Hainline, Research Associate, Department of Egyptian Art.

Title image: Triad of Osorkon II. ca. 874‒850 BCE. Glass, Metal, Gold, Stone, Lapis Lazuli. Musée du Louvre, Paris (E 6204). Photo by Mathieu Rabeau © Musée du Louvre, Dist. RMN-Grand Palais / Art Resource, NY.

Images courtesy The Metropolitan Museum of Art.

October 3, 2025

To the Holy Sepulcher: Treasures from the Terra Sancta Museum at The Frick Collection, October 2, 2025 through January 5, 2026

“Beginning this fall, The Frick Collection presents a stunning exhibition of more than forty objects on loan from the Terra Sancta Museum. Ranging from liturgical objects in gem-encrusted gold and silver to richly decorated vestments in velvet, damask, and other fine materials, the works were created for the Church of the Holy Sepulcher in Jerusalem and were largely unknown until their rediscovery by scholars in the 1980s. They represent the pinnacle of European craftsmanship in these fields during the seventeenth and eighteenth centuries, and many have no parallel anywhere in the world. To the Holy Sepulcher: Treasures from the Terra Sancta Museum offers visitors the opportunity to view these objects for the first time in North America.” — The Frick Collection

Commented Salomon, “This exhibition represents a completely unique opportunity for visitors, building on the Frick’s successful past presentations highlighting masters of European decorative arts. Displayed for the first time in the United States, the exquisite objects in this show are rare survivals, as similar objects were often severely damaged, melted down, or otherwise lost—nothing like them survives in the countries in which they were created. We are deeply grateful for this collaboration with the Custody of the Holy Land as we look ahead to the opening of the Terra Sancta Museum, which will offer a more permanent public display of these treasures.

Installation view of *To the Holy Sepulcher: Treasures from the Terra Sancta Museum* at The Frick Collection, showing Antonio de Laurentiis’s *Throne of Eucharistic Exposition* (Naples, 1754) (center) and other works from the Kingdoms of Naples, Portugal, and Spain, courtesy the Terra Sancta Museum, Jerusalem.  Photo: Joseph Coscia Jr.

Installation view of *To the Holy Sepulcher: Treasures from the Terra Sancta Museum* at The Frick Collection, showing works from the Kingdom of Spain, courtesy the Terra Sancta Museum, Jerusalem.  Photo: Joseph Coscia Jr.

Installation view of *To the Holy Sepulcher: Treasures from the Terra Sancta Museum* at The Frick Collection, showing Pietro, Eutichio, and Sebastiano Juvarra’s *Throne of Eucharistic Exposition* (Messina, 1665) (top center) and other works from the Kingdom of Spain, courtesy the Terra Sancta Museum, Jerusalem.  Photo: Joseph Coscia Jr.

Installation view of *To the Holy Sepulcher: Treasures from the Terra Sancta Museum* at The Frick Collection, showing Al San Lorenzo Giustinian Workshop’s *Pair of Torchères* (Venice, 1762) flanking Gennaro De Blasio’s *Altar Frontal or Antependium* (Naples, 1731) along with other works from the Kingdom of Naples and Republic of Genoa, courtesy the Terra Sancta Museum, Jerusalem . Photo: Joseph Coscia Jr.

Installation view of *To the Holy Sepulcher: Treasures from the Terra Sancta Museum* at The Frick Collection, showing *The Resurrection* (Naples, 1736) (left) and the *Chasuble from the Red “Jerusalem Cross.”* *Set of Pontifical Vestments Sent by the Commissariat of Lombardy* (Milan or Genoa, probably 1600) (right), courtesy the Terra Sancta Museum, Jerusalem.  Photo: Joseph Coscia Jr.

Installation view of *To the Holy Sepulcher: Treasures from the Terra Sancta Museum* at The Frick Collection, showing two *Chasubles* (Milan or Genoa, probably 1600) flanking the entry to a room with works from the Kingdom of France, donated by King Louis XIII, courtesy the Terra Sancta Museum, Jerusalem . Photo: Joseph Coscia Jr.

Installation view of *To the Holy Sepulcher: Treasures from the Terra Sancta Museum* at The Frick Collection, showing Claude Caignet’s *Large Sanctuary Lamp* (Paris, 1617–18), *Large Processional Cross* (Paris, ca. 1620), and *Six Altar Candlesticks* (Paris, 1620–21 and 1623–24) and Alexandre Paynet’s (or Penet’s) *Red Pontifical Vestments* (Paris, 1619), donated by King Louis XIII, courtesy the Terra Sancta Museum, Jerusalem. Photo: Joseph Coscia Jr.

The exhibitionis organized by Xavier F. Salomon, the Frick’s Deputy Director and Peter Jay Sharp Chief Curator, along with Jacques Charles-Gaffiot and Benoît Constensoux, members of the Terra Sancta Museum’s Scientific Committee.

Title image: Antonio de Laurentiis. Throne of Eucharistic Exposition. Naples, 1754. Gold, gilt copper, almandine garnets, amethysts, rock crystal, diamonds, rubies, emeralds, sapphires, carnelians, peridots, smoky quartzes, glass, and doublets. 68 3/4 × 32 1/4 × 15 3/8 in. (174.5 × 82 × 39 cm). Terra Sancta Museum, Jerusalem. Photo: Joseph Coscia Jr.

Images courtesy The Frick Collection.

October 1, 2025

The New York Sari: A Journey Through Tradition, Fashion, and Identity at The New York Historical, September 12, 2025 – April 26, 2026

“The New York Historical presents The New York Sari, an exploration of one of the world’s oldest-known garments and its impact on New York. Originating in South Asia, the sari has spread across oceans through trade, colonialism, and migration, becoming a truly global garment. This exhibition traces how the sari—and those who wear it—found a home in New York City. Once seen as a marker of distance and exoticism, the sari has become woven into the city’s cultural fabric, embraced by new generations of artists, dancers, entrepreneurs, community leaders, scientists, and changemakers.

The sari, with its endless variations in fabric, pattern, and draping style, carries a story shaped by centuries of textile artistry, global trade, and cultural exchange that began long before Portuguese ships arrived in India in 1498. The distinct variations we see today are a powerful representation of regional tradition, cultural identity, and personal expression. For many, the sari evokes rituals, milestones, and womanhood; for others, it becomes a bold statement of reinvention.” — The New York Historical

Installation views of The New York Sari at The New York Historical, September 12, 2025 – April 26, 2026. Photos by Glenn Castellano. Courtesy The New York Historical.

“At The New York Historical, we are committed to telling stories that reflect the full breadth of the American experience,” said Dr. Louise Mirrer, president and CEO of The New York Historical. “The New York Sari illuminates how a centuries-old garment continues to shape identity, artistry, and community-building across our city. This exhibition is a celebration of the sari’s complexity—not only as a textile but as a powerful cultural symbol shaped by trade, migration, and personal expression. By centering voices from across the diaspora, we invite all New Yorkers to consider the rich histories woven into the fabric of everyday life and how a single garment can hold memory, spark dialogue, and foster belonging in a city as dynamic as New York.”