Six-Week Massive Open Online Course (MOOC) Explores Art Created between 1980 and the Present, Including Over 70 Artworks from MoMA’s Collection
The Museum of Modern Art has launched the free massive open online course What Is Contemporary Art?, available now on Coursera. This course offers an in-depth look at over 70 works of art from MoMA’s collection—many of which are currently on view in the expanded Museum—from 1980 to the present, with a focus on art produced in the last decade. Learners will hear directly from artists, architects, and designers from around the globe about their creative processes, materials, and inspiration. What Is Contemporary Art? can be found at www.mo.ma/whatiscontemporaryart.
What Is Contemporary Art? is organized around five themes: Media from Television to the Internet, Territories & Transit, Materials & Making, Agency, and Power. These themes are explored through artworks drawn from every curatorial department at MoMA. Examples include 3-D–printed glass and fiber sculptures, performances in a factory and a museum, interventions into televisions and video games, painted portraits and those made with artificial intelligence, and explorations of the body and collective actions, among many others.
The course features four new, original films made with Sheila Hicks, Arthur Jafa, Pope.L, and Rael San Fratello, whose works are currently on view in the Museum. Additionally, the course features 30 audio and email interviews with artists in MoMA’s collection, including Beatriz González, Xiao Lu, Dayanita Singh, Amanda Williams, Sheela Gowda, JODI, and Revital Cohen and Tuur van Balen, among others. Learners will develop a deeper understanding of both artists’ practices today and some of the many ways they respond to pressing issues and questions of our time.
This course was created by MoMA’s Department of Education, in collaboration with curatorial staff including Sean Anderson, Associate Curator, Department of Architecture and Design; Erica Papernik, Associate Curator, Department of Media and Performance; Sophie Cavoulacos, Assistant Curator, Department of Film; Arièle Dionne-Krosnick, Curatorial Assistant, Department of Architecture and Design; and Christian Rattemey.
MoMA has offered free massive open online courses on Coursera since 2012, including three courses for K–12 teachers and courses for general audiences on photography, modern art, abstract painting, and fashion. To date, more than 700,000 learners have enrolled in MoMA courses on Coursera. Since 2011, Volkswagen Group of America has provided crucial support for MoMA’s groundbreaking digital learning initiatives and has helped the Museum reach a worldwide audience of learners. VW’s support has allowed MoMA to expand the reach of its courses from the classroom to digital, and toward interactive, self-guided learning.
movies are a form of personal filmmaking made to entertain intimate
audiences of family and friends at private screenings. Since the
introduction of small-gauge, portable cameras in 1922 heralded the
unofficial birth of amateur moviemaking, the many thousands of reels
of non-theatrical film shot by individuals around the world amounts
to perhaps the largest body of work on film produced in the twentieth
century. Commonly orphaned by those who made them, sold for stock
footage and used as documentation, less attention has been given to
what home movies represent as an alternative to theatrical film and
what they share with the work of avant-garde filmmakers.
Yoshiko and Akio Morita Galleries host Private Lives Public
Spaces (October 21, 2019 – July 01, 2020), the
Museum’s first large-scale exhibition of home movies and amateur
films drawn exclusively from its collection. This gallery
presentation of largely unseen, privately produced works will explore
the connection between artist’s cinema, amateur movies, and family
filmmaking since the 1923 introduction of small-gauge film stock
heralded the unofficial birth of affordable home moviemaking. The
Museum’s archival holdings of the genre represent a remarkable
range of creativity by artists, celebrities, world travelers, and the
public at large. This presentation of moving image work offers a
renewed perspective on the creative strategies that amateur
filmmaking shares with experimental and avant-garde cinema of the
20th century. In conjunction with the gallery installation, MoMA’s
Department of Education will stage a Home Movie Day
comprising three Library of Congress National Film Registry
by Ron Magliozzi, Curator, Brittany Shaw, Curatorial
Assistant, Katie Trainor, Collections Manager, Peter
Williamson, Preservation Officer, and Ashley Swinnerton,
Collection Specialist, Department of Film
works dating from 1907 to 1996, Private Lives Public
Spaces is the Museum’s first major exhibition of home
movies and amateur films drawn exclusively from its collection.
Democratic, personal, and unregulated, this “people’s cinema”
is viewed as a precursor to social media, and MoMA’s installation
is predicated on the expanded opportunities for display provided by
digital media and the fresh appreciation that viewers bring to
self-expression in present-day moving image culture.
Exhibition Brings Together Some 150 Works That the Forward-Looking Art Critic, Dealer, and Collector Championed, Admired, and Collected
Museum of Modern Art announces Félix Fénéon: The
Anarchist and the Avant-Garde—From Signac to Matisse and Beyond,
the first exhibition devoted to the influential French art critic,
editor, publisher, dealer, and collector Félix Fénéon
(1861–1944), on view from March 22 through July 25, 2020.
Though largely unknown today and always discreetly behind the scenes
in his own era, Fénéon played a key role in the careers of leading
artists from Georges Seurat and Paul Signac to Pierre
Bonnard and Henri Matisse, each of whom is featured
prominently in the exhibition. Félix Fénéon: The Anarchist
and the Avant-Garde—From Signac to Matisse and Beyond traces
Fénéon’s career through approximately 150 works that highlight
his initiatives to help artists via his reviews, exhibitions, and
acquisitions; his commitment to anarchism; his literary engagements;
and his contributions to the recognition of non-Western art. Bringing
together a selection of major works that Fénéon admired,
championed, and collected, alongside contemporary letters, documents,
and photographs, the exhibition underscores the tremendous impact he
had on the development of modernism in the late 19th and early 20th
The centerpiece of the exhibition is Paul Signac’s Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890 (1890) – an icon of Neo-Impressionism and a masterpiece in MoMA‘s collection. In this dramatic portrait, Signac pays homage to Fénéon’s distinctive profile and goatee, dandyish attire, and generous but enigmatic personality. The spiral patterns in the background set into motion the scientific color theories that Signac and the Neo-Impressionists used to develop the technique of Pointillism, which involved applying tiny dabs of color that mix in the eye of the viewer. It was a young Fénéon who had coined the term “Neo-Impressionism” a few years earlier, in 1886, to recognize the new style pioneered by Seurat and Signac. Over the next five decades, he would continue to be their most ardent, lifelong champion.
exhibition unfolds across several galleries organized as distinct
chapters in Fénéon’s multifaceted career. While working as a
clerk in the War Office in Paris, Fénéon was secretly active in
anarchist circles, and after the bombing of a Parisian restaurant in
1894 he was arrested, imprisoned, and tried on suspicion of
conspiracy. Paintings, photographs, and prints will attest to the
tumult of the period and the anarchist fervor within the artistic and
literary circles in which Fénéon moved. After his acquittal, Fénéon
worked as editor-in-chief of La Revue Blanche, a leading
journal of art, literature, and politics. He became a champion of the
artists most closely allied with the publication, including Pierre
Bonnard, Edouard Vuillard, and Félix Vallotton, who were
known as the Nabis. One of the highlights of the exhibition is
Vallotton’s Félix Fénéon at La Revue Blanche (1896), a
luminous canvas depicting the revered editor hunched over a stack of
manuscripts he is editing by lamplight.
The Museum of Modern Art will inaugurate its latest transformation on New York City’s Wesr 53rd Street with Surrounds: 11 Installations, opening in The Steven and Alexandra Cohen Center for Special Exhibitions, in The Peggy and David Rockefeller building, on October 21, 2019. The presentation, spanning the entire sixth floor, presents 11 watershed installations by living artists from the past two decades, all drawn from the Museum’s collection and on view at MoMA for the first time. Each installation will occupy its own gallery, providing an individualized, immersive experience.
is organized by Quentin Bajac, former Joel and Anne Ehrenkranz
Chief Curator of Photography, Christian Rattemeyer, Harvey S.
Shipley Miller Associate Curator for Drawings and Prints, Yasmil
Raymond, Associate Curator, Department of Painting and Sculpture,
Sean Anderson, Associate Curator, Department of Architecture
and Design, and Joshua Siegel, Curator, Department of Film,
with the assistance of Lucy Gallun, Associate Curator,
Department of Photography, Erica Papernik-Shimizu, Associate
Curator, Department of Media and Performance, Arièle
Dionne-Krosnick, Curatorial Assistant, Department of Architecture
and Design, and Taylor Walsh, Curatorial Assistant, Department
of Drawings and Prints.
includes work by Jennifer Allora (American, b. 1974) and
Guillermo Calzadilla (Cuban, b. 1971), Sadie Benning
(American, b. 1973), Janet Cardiff (Canadian, b. 1957) and
George Bures Miller (Canadian, b. 1960), Sou Fujimoto
(Japanese, b. 1971), Sheila Hicks (American, b. 1934), Arthur
Jafa (American, b. 1960), Mark Manders (Dutch, b. 1968),
Rivane Neuenschwander (Brazilian, b. 1967), Dayanita Singh
(Indian, b. 1961), Hito Steyerl (German, b. 1966), and Sarah
Sze (American, b. 1969).
work included in the exhibition was conceived out of different
individual circumstances—as a contribution to a biennial, as an
element of a larger ongoing body of work, as a response to a classic
work of art history, or as a stand-alone work unrelated to others—but
the installations are united in their ambition and scope, marking
decisive shifts in the careers of their makers and the broader field
of contemporary art.
exhibition is made possible by Bank of America, MoMA’s
funding is provided by Agnes Gund.
contributions to the Annual Exhibition Fund, in support of the
Museum’s collection and collection exhibitions, are generously
provided by the Kate W. Cassidy Foundation, Sue and Edgar
Wachenheim III, Mimi and Peter Haas Fund, Jerry I.
Speyer and Katherine G. Farley, Eva and Glenn Dubin, The
Sandra and Tony Tamer Exhibition Fund, Alice and Tom Tisch,
The David Rockefeller Council, Anne Dias, Kathy and Richard S. Fuld,
Jr., Kenneth C. Griffin, Marie-Josée and Henry R. Kravis, Jo Carole
and Ronald S. Lauder, Anna Marie and Robert F. Shapiro, The Keith
Haring Foundation, and The Contemporary Arts Council of The
Museum of Modern Art.
contributions to the Annual Exhibition Fund are provided by
the Estate of Ralph L. Riehle, Emily Rauh Pulitzer, Brett and
Daniel Sundheim, Karen and Gary Winnick, The Marella and Giovanni
Agnelli Fund for Exhibitions, Clarissa Alcock and Edgar Bronfman,
Jr., Agnes Gund, and Oya and Bülent Eczacıbaşı.
Audio is supported by Bloomberg Philanthropies.
Museum of Modern Art announces member: Pope.L,
1978–2001, an exhibition of landmark performances and
related videos, objects, and installations by the multidisciplinary
artist Pope.L, on view from October 21, 2019, through
January 2020. Pope.L (b. 1955) is a consummate thinker and
provocateur whose practice across multiple mediums—including
painting, drawing, installation, sculpture, theater, and
video—utilizes abjection, humor, endurance, language, and absurdity
to confront and undermine rigid systems of belief. Spanning works
made primarily from 1978 to 2001, the exhibition features videos,
photographs, sculptural elements, ephemera, and live actions. member:
Pope.L, 1978–2001 is organized by Stuart Comer,
Chief Curator, Department of Media and Performance, with Danielle
A. Jackson, Curatorial Assistant, Department of Media and
in the exhibition include those rooted in experimental theater, such
as Egg Eating Contest (1990), Aunt Jenny Chronicles
(1991), and Eracism (2000), as well as street interventions
such as Thunderbird Immolation a.k.a. Meditation Square Piece
(1978), Times Square Crawl a.k.a. Meditation Square Piece
(1978), Tompkins Square Crawl a.k.a. How Much Is That Nigger in
the Window (1991), ATM Piece (1996), and The Great
White Way: 22 miles, 9 years, 1 street (2001–09), among others.
Together, these works highlight the role performance has played
within an emphatically interdisciplinary career that has established
Pope.L as a critical and influential force in contemporary art.
Additionally, these early works form a snapshot of the profound
social, cultural, and economic shifts in New York City throughout the
1980s and ’90s.
will publish a comprehensive, fully illustrated catalogue to
accompany the exhibition. Presenting a detailed study of these
investigations, as well as overarching topics Pope.L has explored
throughout his career, the publication will establish key details for
each work and articulate how the artist continues to think about the
legacy of these ephemeral projects unfolding in time.
presentation is part of Pope.L: Instigation, Aspiration,
Perspiration, a trio of complementary exhibitions organized
by MoMA, the Whitney Museum of American Art, and Public
Art Fund. Utilizing both public and private spaces, the expansive
presentation will address many elements of the artist’s oeuvre,
from seminal early works to a monumental new installation and a new
performative work inspired by the artist’s iconic crawl series.
exhibition is presented as part of The Hyundai Card Performance
Series. Major support is provided by The Jill and Peter Kraus
Endowed Fund for Contemporary Exhibitions and The Jon Stryker
Endowment. Additional support is provided by The Friends of
Education of The Museum of Modern Art, Nancy and David Frej,
Barbara Karp Shuster, and Ann and Mel Schaffer.
contributions to the Annual Exhibition Fund, in support of the
Museum’s collection and collection exhibitions, are generously
provided by the Kate W. Cassidy Foundation, Sue and Edgar
Wachenheim III, Mimi and Peter Haas Fund, Jerry I. Speyerand
Katherine G. Farley, Eva and Glenn Dubin, The Sandra
and Tony Tamer Exhibition Fund, Alice and Tom Tisch, The David
Rockefeller Council, Anne Dias, Kathy and Richard S. Fuld, Jr.,
Kenneth C. Griffin, Marie-Josée and Henry R. Kravis, Jo Carole and
Ronald S. Lauder, Anna Marie and Robert F. Shapiro, The Keith Haring
Foundation, and The Contemporary Arts Council of The Museum of
contributions to the Annual Exhibition Fund are provided by the
Estate of Ralph L. Riehle, Emily Rauh Pulitzer, Brett and Daniel
Sundheim, Karen and Gary Winnick, The Marella and Giovanni Agnelli
Fund for Exhibitions, Clarissa Alcock and Edgar Bronfman, Jr., Agnes
Gund, and Oya and Bülent Eczacıbaşı.
the early 1990s, Rachel Harrison
(b. 1966) has combined pop-cultural, political, and art-historical
references in her work, creating a distinctive visual language that
is multi-layered and full of mordant wit. Rachel
Harrison Life Hack is the
first full-scale survey to track the development of Harrison’s
career over the past twenty-five years, assembling approximately one
hundred works, including sculptures, photographs, drawings, and
installations, ranging in date from 1991 to the present.
complex works incorporate everything from consumer goods to cement,
with objects both made and found. Cans of olives, remote controls,
NASCAR paraphernalia, and a restaurant meal appear in configurations
that open up simultaneous and unexpected layers of meaning. In her
practice, Harrison brings together the breadth of art history, the
impurities of politics, and the artifacts of pop and celebrity
culture, conjuring unexpected, wryly humorous combinations and
atmospheres that suggest allegories of the contemporary United
States. A remarkable cast of characters appear in her work, ranging
from Amy Winehouse to
Abraham Lincoln, Mel
Gibson to Marcel
Duchamp, David Bowie
to Angela Merkel,
Hannah Wilke to
Buckethead, and Bo
Derek to Al Gore.
exhibition, organized by Elisabeth Sussman and
David Joselit, with
Kelly Long, will fill
the Museum’s fifth-floor galleries, October 25,
2019–January 12, 2020.
Rothkopf, Senior Deputy Director and Nancy and Steve Crown Family
Chief Curator, remarked:
“Although Life Hack
gathers together the most significant examples of Harrison’s art from
across her career, she has brilliantly approached the exhibition
itself almost as an entirely new work of art. Visitors will be
immersed in a sequence of dramatic sculptural environments that
unfold across the Whitney’s sprawling clear-span gallery, which was
designed to inspire precisely such bold experimentation.”
Sussman writes in her catalogue essay (entitled “Rachel
Harrison: Two or Three Things I Know About Her”
after a film by Jean-Luc Godard),
“From the beginning,
Harrison was omnivorous. Working on the principle that art should
include everything, she made things and environments, she found stuff
and collected it. Nor did she limit herself to a specific medium.”
Sussman further comments: “Harrison’s importance lies in that she
has absorbed commodity and media culture into a paradigm of object
making. She has consistently kept at the task of making meaning out
of modern-day life for thirty years, and her contribution to
contemporary art is singular.”
Joselit noted, “Drawing
on past sculptural practice, from a wide and seemingly contradictory
range of precedents including Michael Asher, Mike Kelley, Adrian
Piper, and Fred Sandback, Harrison de-familiarizes museum space and
exhibition practices. By playing with the idea of pedestal and wall
and often exploiting the ad hoc qualities of assemblage, she
undermines the sense that a work or an installation is ever finished
by calling attention to how it is framed.”
installation is loosely chronological, beginning with a gallery
devoted to works from the 1990s, then moving into more thematic and
atmospheric spaces punctuated by smaller galleries devoted to
specific bodies of work (a selection of Harrison’s Amy Winehouse
drawings, for example). Two large galleries in the exhibition engage
with the idea of civic space and monumentality, providing complex,
evocative environments for Harrison’s work that are further
activated by the presence of viewers.
Harrison lives and works in New York. Recent solo exhibitions include
Greene Naftali, New York (2017); Perth Amboy, The Museum of
Modern Art, New York (2016);
Depth Jump to Second Box,
Kraupa-Tuskany Zeidler, Berlin (2016); Three
Young Framers, Regen
Projects, Los Angeles (2015); Gloria:
Rachel Harrison & Robert Rauschenberg,
The Cleveland Museum of Art, Cleveland (2015); Fake
Kestnergesellschaft, Hannover (2013); Fake
Titel: Turquoise-Stained Altars for Burger Turner,
S.M.A.K., Ghent (2013); Villeperdue,
Galerie Meyer Kainer, Vienna (2013); Consider
the Lobster, CCS
Bard/Hessel Museum of Art, Annandale-on-Hudson, New York (2009);
Portikus, Frankfurt (2009); Conquest
of the Useless,
Whitechapel Gallery, London (2010); and Lay
of the Land, Le
Consortium, Dijon (2008).
work is in the collections of The Museum of Modern Art, New
Metropolitan Museum of Art, New York;
Whitney Museum of American Art, New York;
Solomon R. Guggenheim Museum, New York;
Hirshhorn Museum and Sculpture Garden,
Washington, D.C.; Art Institute of Chicago;The Museum of
Contemporary Art, Los Angeles;
Centre Pompidou, Paris;
Amsterdam; Moderna Museet,
Stockholm; and Museum Ludwig,
Cologne, among many others. Harrison’s work has appeared in two
Whitney Biennials, in
2002 and 2008, and her work was also included in America
Is Hard to See, the
Whitney’s inaugural exhibition in its downtown home in 2015.
catalogue contains essays by Sussman and Joselit, as well as by
Johanna Burton, Darby
Nelson, and Alexander
Nemerov. This publication,
designed by Rachel Harrison and Joseph Logan,
explores twenty-five years of Harrison’s practice and is the first
comprehensive monograph on Harrison in nearly a decade. Its
centerpiece is an in-depth plate section, which doubles as a
chronology of Harrison’s major works, series, and exhibitions.
Objects are illustrated with multiple views and details, and
accompanied by short texts. This thorough approach elucidates
Harrison’s complicated, eclectic oeuvre—in which she integrates
found materials with handmade sculptural elements, upends traditions
of museum display, and injects quotidian objects with a sense of
strangeness. Published by the Whitney Museum of American
Art and distributed by Yale
support for Rachel
Harrison Life Hack is
provided by The Andy Warhol Foundation for the Visual Arts
and the Whitney’s
support is provided by Candy and Michael Barasch
and The Morris A. Hazan Family Foundation,
Sueyun and Gene Locks,
and Susan and Larry Marx.
Significant support is provided by Constance R. Caplan,
Fotene Demoulas and Tom Coté, Krystyna Doerfler, The Keith Haring
Foundation Exhibition Fund, Ashley Leeds and Christopher Harland, Han
Lo, Diane and Adam E. Max, and
Additional support is provided by Eleanor Cayre, Suzanne
and Bob Cochran, The Cowles Charitable Trust, Rebecca and Martin
Eisenberg, and Emily
Rauh Pulitzer. Generous
exhibition production support is provided by Greene
Naftali, New York, with
additional support from Regen Projects, Los Angeles.
Major Exhibition at the Opening of New MoMA Will Display Over 100 Important Works by Latin American Artists
The Museum of Modern Art announces Sur moderno: Journeys of Abstraction―The Patricia Phelps de Cisneros Gift, a major exhibition drawn primarily from the paintings, sculptures, and works on paper donated to the Museum by the Colección Patricia Phelps de Cisneros between 1997 and 2016.
Since its founding in 1929, The Museum of Modern Art has collected, exhibited, and studied the art of Latin America. Today, MoMA’s collection includes more than 5,000 works of modern and contemporary art by artists from Latin America distributed across its six curatorial departments, representing important figures in early modernism, Expressionism, Surrealism, abstraction, architecture, and Conceptual and contemporary art.
On view from October 21, 2019, through March 14, 2020, Sur moderno celebrates the arrival of the most important collection of abstract and concrete art from Latin America by dedicating an entire suite of galleries on the Museum’s third floor to the display of artists from Brazil, Venezuela, Argentina, and Uruguay.
The exhibition highlights the work of Lygia Clark, Gego, Raúl Lozza, Hélio Oiticica, Jesús Rafael Soto, and Rhod Rothfuss, among others, focusing on the concept of transformation: a radical reinvention of the art object and a renewal of the social environment through art and design. The exhibition is also anchored by a selection of archival materials that situate the works within their local contexts. Sur moderno is organized by Inés Katzenstein, Curator of Latin American Art and Director of the Patricia Phelps de Cisneros Research Institute for the Study of Art from Latin America, The Museum of Modern Art, and consulting curator María Amalia García, Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET)–Universidad Nacional de San Martín, Argentina, with Karen Grimson, Curatorial Assistant, Department of Drawings and Prints, The Museum of Modern Art.
The exhibition is divided into two main sections based on the concept of transformation. The first section, “Artworks as Artifacts, Artworks as Manifestos,” presents a group of works that subverted the conventional formats of painting and sculpture. Cuts, folds, articulated objects, cut-out frames, and experiments that question the autonomy of the art object are some examples of these artists’ material explorations. One of the first works visitors encounter in the exhibition, Willys de Castro’s Active Object (1961), fuses the materiality of painting with the principles of free-standing sculpture, inviting the viewer to circle around a painted canvas. Another work in this section, Gyula Kosice’s Articulated Mobile Sculpture (1948), questions the grounds of traditional sculpture by combining strips of brass to create a movable structure that defies classification.
The exhibition’s inclusion of Spatial Construction no. 12 (c. 1920) by Aleksandr Rodchenko highlights the influence of Russian Constructivism on South American art. Similarly, images of Piet Mondrian’s works were widely circulated and had a great impact on the development of abstraction in the region. His Broadway Boogie Woogie (1942–43), on view in the exhibition, inspired investigations of kineticism among artists such as Jesús Rafael Soto, whose Double Transparency (1956) is an attempt to transform the two-dimensionality of Mondrian’s painting into a three-dimensional experience.
In the second section, “Modern as Abstract,” the language of abstraction is displayed as both a product of and a catalyst for the transformation of the artists’ surroundings. The geometrical principles of abstract painting carried over into the everyday, where artists and architects recognized one another as allies, leading to a shared operation and set of ideals. Here, María Freire’s Untitled (1954), for example, is displayed alongside archival materials and works from MoMA’s Architecture and Design collection, in an exploration of public sculptural projects and furniture design.
The final part of the exhibition is dedicated to the grid, one of modern art’s central motifs of experimentation. Gego’s Square Reticularea 71/6 (1971) and Hélio Oiticica’s Painting 9 (1959) are two examples of works in the exhibition that approached the transformation and expansion of the rational grid in different ways. Oiticica disrupted the strict geometric system with his rhythmically arranged rectangles, while Gego warps and deconstructs the reticular structure.
Over the last 25 years, the Colección Patricia Phelps de Cisneros has donated more than 200 works by Latin American artists to The Museum of Modern Art. In addition to those generous donations, in 2016 the Colección Patricia Phelps de Cisneros established the Patricia Phelps de Cisneros Research Institute for the Study of Art from Latin America at MoMA. The Institute’s programming includes fellowships for scholars, curators and artists, and an extended research initiative that contributes to a series of public programs hosted by the Museum, as well as symposia in Latin America, and publications in digital and printed format.
The exhibition is accompanied by a fully illustrated catalogue, with contributions from such prominent scholars in the field as María Amalia García, Irene V. Small, and Mónica Amor. The volume also includes a conversation between Patricia Phelps de Cisneros and MoMA director Glenn D. Lowry, and a dialogue between Inés Katzenstein, the Museum’s current curator of Latin American art, and Luis Pérez-Oramas, who, in addition to serving as MoMA’s Latin American art curator between 2003 and 2017, was one of the principal curators involved in the development of the Colección Patricia Phelps de Cisneros.
Generous funding for the exhibition is provided by Agnes Gund.
Additional support is provided by Adriana Cisneros de Griffin and Nicholas Griffin.
Leadership contributions to the Annual Exhibition Fund, in support of the Museum’s collection and collection exhibitions, are generously provided by the Kate W. Cassidy Foundation, Sue and Edgar Wachenheim III, Mimi and Peter Haas Fund, Jerry I. Speyer and Katherine G. Farley, 3 Eva and Glenn Dubin, The Sandra and Tony Tamer Exhibition Fund, Alice and Tom Tisch, The David Rockefeller Council, The Contemporary Arts Council of The Museum of Modern Art, Anne Dias, Kathy and Richard S. Fuld, Jr., Kenneth C. Griffin, The Keith Haring Foundation, Marie-Josée and Henry R. Kravis, Jo Carole and Ronald S. Lauder, and Anna Marie and Robert F. Shapiro.
Major contributions to the Annual Exhibition Fund are provided by the Estate of Ralph L. Riehle, Emily Rauh Pulitzer, Brett and Daniel Sundheim, Karen and Gary Winnick, The Marella and Giovanni Agnelli Fund for Exhibitions, Clarissa Alcock and Edgar Bronfman, Jr., Agnes Gund, and Oya and Bülent Eczacıbaşı.