EditorialA visitor views Refik Anadol’s “MoMA Generative Study 1,” one of three parts of “Unsupervised,” on the ground floor of the Museum of Modern Art in New York, Dec. 14, 2022. (Vincent Tullo/The New York Times)
EditorialAnn Temkin of MoMA and Naomi Beckwith of the Guggenheim discuss how they’re rethinking business as usual — and why they have reason to be hopeful. (Tonje Thilesen/The New York Times)
EditorialJesse Krimes’s “Apokaluptein 16389067” (2010–2013) on display in “Marking Time: Art in the Age of Mass Incarceration,” a show of art made largely by inmates of the U.S. prison system, at MoMA PS1 in New York, Sept. 20, 2020. (Karsten Moran/The New York Times)
EditorialA reunion of artists from Just Above Midtown Gallery, from left: Randy Williams, Howardena Pindell, Coreen Simpson, Janet Olivia Henry, Maren Hassinger, Nina Kuo, Linda Goode Bryant (JAM’s founder) and Lorraine O’Grady in the Founders Room of MoMA in New York, Sept. 6, 2022. (Elliott Jerome Brown Jr./The New York Times)
EditorialA reunion of artists from Just Above Midtown Gallery, from left: Randy Williams, Howardena Pindell, Coreen Simpson, Janet Olivia Henry, Maren Hassinger, Nina Kuo, Linda Goode Bryant (JAM’s founder) and Lorraine O’Grady in the Founders Room of MoMA in New York, Sept. 6, 2022. (Elliott Jerome Brown Jr./The New York Times)
EditorialA gallery at “To Look Without Fear,” a new show of works by Wolfgang Tillmans, at the Museum of Modern Art, in New York, Sept. 7, 2022. (Lila Barth/The New York Times)
EditorialThe German photographer and video artist Wolfgang Tillmans works on a replica of his Museum of Modern Art exhibition in his studio in Berlin, July 18, 2022. (Daniel Gebhart de Koekkoek/The New York Times)
EditorialA view of Barbara Kruger’s vertiginous, loquacious new installation that engulfs the atrium of the Museum of Modern Art in Manhattan, July 12, 2022. (Charlie Rubin/The New York Times)
EditorialTwo of Bettina Grossman’s photographs, “Phenomenology Project” from 1979-80 and “Options for an Angle, 24 Inconstants From One Constant” from 1971, as well as her “Marble Eggs,” on display alongside work by other artists at the "Greater New York,” at MoMA PS1 in Queens, Oct. 5, 2021. (Jeenah Moon/The New York Times)
EditorialThe artist Adam Pendleton with his piece, “Untitled (We Are Not),” at New York’s Museum of Modern Art, Aug. 27, 2021. (Lelanie Foster/The New York Times)
EditorialJohn Barnard?s ?Formula 1 Racing Car (641/2),? 1990, at the Museum of Modern Art in Manhattan, June 29, 2021. (Jeenah Moon/The New York Times)
EditorialA view of the new wing of the Museum of Modern Art as seen from the sculpture garden, in New York, Nov. 10, 2004. (Fred R. Conrad/The New York Times)
EditorialA maquette of “The Sphinx,” circa 1984, in the exhibition “Niki de Saint Phalle: Structures for Life” at MoMA PS1 in New York, April 3, 2021. (Charlie Rubin/The New York Times)
EditorialWorks by V. Mitch McEwen, left, and Walter Hood, right, part of the exhibition, “Reconstructions: Architecture and Blackness in America," at the Museum of Modern Art in New York, on March 8, 2021. (Simbarashe Cha/The New York Times)
EditorialGerhard Richter’s “October 18, 1977,” a series of 15 paintings of the Baader Meinhof gang in a stand-alone gallery at the Museum of Modern Art in New York, Nov. 9, 2020. (Jeenah Moon/The New York Times)
EditorialGerhard Richter’s “October 18, 1977,” a series of 15 paintings of the Baader Meinhof gang in a stand-alone gallery at the Museum of Modern Art in New York, Nov. 9, 2020. (Jeenah Moon/The New York Times)
EditorialA detail of a collage by Tameca Cole, “All Locked in a Dark Calm,” 2016, from “Marking Time: Art in the Age of Mass Incarceration,” a show of art made largely by inmates of the U.S. prison system, at MoMA PS1 in New York, Sept. 20, 2020. (Karsten Moran/The New York Times)
EditorialFrom left, Justin F. Kennedy, Brooke Stamp and Sandy Williams in “Shelf Life” in the Kravis Studio at the Museum of Modern Art on Feb. 1, 2020. (Julieta Cervantes/The New York Times)