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Monday 10:30am - 5:30pm Tuesday 10:30am - 5:30pm Wednesday 10:30am - 5:30pm Thursday 10:30am - 5:30pm Friday 10:30am - 8:30pm Saturday 10:30am - 5:30pm Sunday 10:30am - 5:30pm

MoMA The Museum of Modern Art, 11 W 53rd Street, New York, NY (2026)

06/03/2026

Reach for it, New York! 🏀

We’ll be on the lookout for more picture-perfect shots from the Knicks tonight. Go New York, go New York, go!

—
Barton Silverman/The New York Times. “Lakers at the Knicks.” March 10, 1992. The New York Times Collection. © 2026 The New York Times.

05/31/2026

“Nobody could imagine in New York—the most busy place in the world—that anybody would take the time to sit and just engage in [a] mutual gaze with me." — Marina Abramović

On this day in 2010, Marina Abramović's retrospective "The Artist Is Present" closed at MoMA. As part of the exhibition, Abramović staged a new work, sitting at a small table across from an empty chair in MoMA's Marron Atrium. Anyone was welcome to sit across from her for as long as they wanted.

For eight hours a day, over the course of nearly three months, more than 1,000 people sat opposite the artist, lining up for hours to do so; some people even camped outside the Museum overnight.

One person described sitting with Abramović as “a transforming experience—it’s luminous, it’s uplifting, it has many layers, but it always comes back to being present, breathing, maintaining eye contact.”

Did you visit "The Artist Is Present"? Share your experience in the comments 👇

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Installation views of the exhibition "Marina Abramović: The Artist is Present," The Museum of Modern Art, New York, March 14, 2010–May 31, 2010. Photographs by Jonathan Muzikar.

05/28/2026

At a time when many of his German contemporaries were experimenting with abstraction, artist Max Beckmann pursued the possibilities of figuration and narrative.

Beckmann frequently depicted fragments of myths, bible stories, and opaque allegories in his paintings—often interspersed with scenes and figures from his own life.

“Self-Portrait with a Cigarette,” shown here, is one of many paintings and prints in which the artist used self-portraiture as a form of role playing. Although Beckmann presented himself here as a stern and successful businessman, at the lower left of the painting is a red polkadot sash. A sly reference to the dress of a clown, it subtly mocks his mask of authority.

🎨 Plan your visit to see this work and more by Max Beckmann on view now in our fifth-floor galleries.

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Max Beckmann. “Self-Portrait with a Cigarette.” Frankfurt 1923. Gift of Dr. and Mrs. F. H. Hirschland. © 2026 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.

05/26/2026

“I was born an artist. Afterwards, I had to explain to everyone just what that meant.” — Marisol

This sculpture by artist Marisol features a cast of her face around a Coca-Cola bottle, exploring the globalization of American culture as well as sexuality and consumerism. In her work, Marisol often used objects from her daily life.

While often associated with Pop art, Marisol never felt that her work fit within any movement. After a critic deemed her work an “appropriation of folk-art,” coding her work as feminine and primitive, she responded, “If you call my work folk art it is only because you are prejudiced about my South American background…. I am involved with the identity of the world."

🖼️ See this sculpture and more artworks from the 1960s that question branding, seriality, and consumerism on view now in our fourth-floor galleries.

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Marisol (Marisol Escobar). "Love." 1962. Gift of Claire and Tom Wesselmann. © 2026 Marisol.

05/22/2026

One night only! Two iconic DJ sets in MoMA's garden 🪩

Tinashe & Rebecca Black take over the Party in the Garden After-Party on June 2!

Our annual benefit is back. Party in the Garden supports MoMA’s award-winning education programs and the care, study, and exhibition of our collection. Join us for an After-Party with sets by Tinashe and Rebecca Black.

🎟️ mo.ma/pitgap26

05/21/2026

Did you know that conservators often dust the artworks in our galleries? 🧹

In honor of artist Henri Rousseau—who was born on this day in 1844!—enjoy a video of Senior Conservator Anni Aviram checking in on Rousseau's "The Dream."

Thanks to their careful supervision of our collection, members of MoMA's conservation team know exactly which parts of the paintings on view require a little extra love to remain stable and dust-free.

Watch more: mo.ma/atms2e3

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Henri Rousseau. "The Dream." 1910. Gift of Nelson A. Rockefeller.

05/19/2026

Throw the confetti! It's graduation season 🎊

Artist Henri de Toulouse-Lautrec made this poster in 1894 to advertise the new paper form of confetti. Inspired by Japanese woodblock prints, the artist incorporated patterns of vivid, flat color, and sinuous lines to achieve a directness that went far beyond the illustrative charm of other poster makers of the day.

🎓 Celebrating a graduate this season? Gift a MoMA membership so they can continue learning and finding new inspiration in our galleries!

🎁 Members get free admission, exclusive viewing opportunities and events, discounts at MoMA Design Store and more.

Head to membership.moma.org to learn more!

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Henri de Toulouse-Lautrec. "Confetti." 1894. Acquired in honor of Joanne M. Stern by the Committee on Prints and Illustrated Books in appreciation for her contribution as Committee Chair.

05/11/2026

Did you know that it took 28 tries to get this shot just right? 📸

Photographer Philippe Halsman and artist Salvador Dalí collaborated on a variety of photographic projects in the late 1940s, including "Dalí Atomicus," shown here.

The photograph is a portrait of Dalí inspired by his painting, "Leda Atomica" (1949), which appears in the composition’s right-hand corner—hanging suspended above the ground like the easel, chair, stepstool, cats, water, and Dalí himself.

It reportedly took 28 attempts to achieve the playful weightlessness of the finished photograph.

🎂 Salvador Dalí was born on this day in 1904! See his work on view now in our fifth-floor galleries.

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Philippe Halsman. "Dalí Atomicus." 1948. Gift of the artist. © 2026 Halsman Estate.

05/08/2026

"I wanted to move through the space the way I move through choreography, led by instinct and feeling." — Misty Copeland

For our latest MoMA Mixtape, groundbreaking ballerina and former principal dancer with American Ballet Theatre Misty Copeland paired eight works on view at MoMA right now with songs that resonated with her.

For Copeland’s mixtape, Monet's “Water Lilies” found its match in Amel Larrieux, Njideka Akunyili Crosby met Marvin Gaye, and Robert Mapplethorpe was paired alongside Solange.

"I wasn't looking for perfect matches," Copeland says. "Just connections between what I was seeing and what I hear in music."

🎧 Head to to read the full piece and hear the artist and activist’s playlist → mo.ma/mistymixtape

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[1] Yves Klein. “Blue Monochrome.” 1961. The Sidney and Harriet Janis Collection. © 2026 Artists Rights Society (ARS), New York/ADAGP, Paris. [2] “Odili Donald Odita: Songs from Life.” [3] David Hammons. “Untitled.” 1969. The Friends of Education of The Museum of Modern Art, the General Print Fund, and Committee on Drawings Funds. © 2026 David Hammons/Artists Rights Society (ARS), New York. Photos: Naeem Douglas.

05/04/2026

May flowers have arrived 🌸
..and that means Mother's Day is just around the corner! Bring mom to MoMA and you can...

🍨 Grab an ice cream and enjoy the spring flowers in our Sculpture Garden
🎨 Embark on an art quest through our galleries with our Kids Guide (kids 16 and under always get in free!)
✏️ Participate in hands-on activities for all ages in the Heyman Family Art Lab
🛍️ Check out new arrivals at MoMA Design Store

🎁 Gift a membership ahead of your visit! Head to membership.moma.org to learn more.

—
Roe Ethridge. "Flower." 2011. Gift of Michael S. Ovitz. © 2026 Roe Ethridge.

04/30/2026

Did you know that Diego Rivera once brought his activist art to the stage? 🎭

“The theatre is a place of relaxation for the multitude,” Rivera once proposed. “Art for the multitude is the purest.”

Rivera wrote these words in the program booklet for “H.P. (Horsepower),” a ballet-symphony in four parts by Mexican composer Carlos Chávez, for which he designed the sets and costumes.

Rivera, who was best known for his large-scale public murals celebrating Mexican culture and history, understood the shift to stage and costume design as a natural extension of his desire to make art accessible to broad audiences.

🎟️ Plan your visit! The celebrated Mexican muralist’s designs for the stage are now on view as part of “Frida and Diego: The Last Dream,” a first-of-its-kind collaboration with The Metropolitan Opera.

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[1] Diego Rivera. “The Man.” Costume design for the ballet “H.P. (Horsepower).” 1927. [2] Diego Rivera. Study for backdrop for the ballet “H.P. (Horsepower).” c. 1927–32. [3] Diego Rivera. “Stock Market.” Set design for scene four of the ballet “H.P. (Horsepower).” c. 1927–32. All works Gift of Abby Aldrich Rockefeller. © 2026 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York.

04/23/2026

📢 Do you look like Marcel Duchamp or his alter ego, Rrose Sélavy?

Join us at the next Artist Party to enter a special lookalike contest!

📅 Thursday, April 30
📍 Artist Party at MoMA
⏰ Doors open at 7 p.m., contest starts at 8:15 p.m.

🎟️ Tickets $15, Members free

➡️ Learn more at mo.ma/artistparty

Registration for the contest will take place onsite at the Museum starting April 30 at 7 p.m. A ticket to Artist Party is required to enter the Museum and participate in the contest. See the event page for costume guidelines to make sure you are able to safely enter the contest.

—
Man Ray and Marcel Duchamp. “Marcel Duchamp as Rrose Sélavy.” New York, c. 1920–21. Philadelphia Museum of Art. The Samuel S. White 3rd and Vera White Collection, 1957

04/21/2026

📷 Man Ray's experiments with photography carried him to the center of the emergent Surrealist movement in Paris in the 1920s.

Led by André Breton, Surrealism sought to reveal the uncanny coursing beneath familiar appearances in daily life. Man Ray proved well suited to this, and he contributed photographs to the three major Surrealist journals throughout the 1920s and 1930s as well as constructing Surrealist objects.

Working across mediums and historical movements, Man Ray was an integral part of The Museum of Modern Art’s early exhibitions. His photographs, paintings, drawings, sculptures, films, and even a chess set were included in landmark early installations at the Museum.

🖼️ Plan your visit to see this photograph and more works by Man Ray on view now in our fifth-floor galleries.

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Man Ray (Emmanuel Radnitzky). "Untitled." 1931. Gift of James Thrall Soby. © 2026 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris.

04/14/2026

How it feels when spring flowers begin to bloom! 🌼

While artist Betye Saar is mostly known for her assemblage, she began her career as a printmaker. Her earliest works are on paper, and using the soft-ground etching technique, she pressed stamps, stencils, and found materials into her plates to capture their images and textures.

Over the course of her now six-decade career, Saar has continued to make work that honors or critiques the familiar and mines the unknown.

“It may not be possible to convey to someone else the mysterious transforming gifts by which dreams, memory, and experience become art," she once said. "But I like to think that I can try.”

🖼️ See Saar's work on view now in our fourth-floor galleries.

📖 Read more about how Saar shifted from printmaking to working with assemblage and collage on → mo.ma/mag216

—
Betye Saar. "Flight." 1963. Gift of Julie and Bennett Roberts, Roberts Projects, Los Angeles. © Betye Saar, courtesy the artist and Roberts Projects, Los Angeles.

04/10/2026

Behind the myths and misconceptions, who was Marcel Duchamp?

➡️ Swipe to learn more about the artist and his famously enigmatic work.

📣 Coming soon! The first North American retrospective of Duchamp’s work in over 50 years opens this Sunday, April 12.

🎟️ Become a member today and enjoy exclusive Member Previews. Learn more at mo.ma/duchamp

04/09/2026

NASA may have released new photos of the moon this week, but we're throwing it back to the classics 🌕❤️

The Apollo space program, which conducted 12 manned missions between 1961 and 1975, was the first to bring humans to the moon. But nearly half a century ago, displaying scientific images in an art gallery was an event almost as unprecedented as going to the moon.

Gallerist and historian Peter MacGill, then working at New York’s Light Gallery, went through thousands of photographs taken over the course of the Apollo program in the archive of the University of Arizona’s Science-Engineering Library. Inspired in part by the Conceptual photographers working at the time, he chose a small group of the Apollo images, taken on a 70mm Hasselblad camera, to exhibit at the gallery in 1979.

MacGill has explained that he chose images with both scientific and aesthetic value, including astronauts’ snapshots of each other, lunar landscapes that provide information about the moon’s surface, and photographs of NASA equipment. In the gallery setting, the images were recast as fine art rather than documentary photography.

In 2016, 51 of these photographs were added to MoMA’s collection. Aside from their scientific significance, these images serve as documentation of the extraordinary human feat of the first landing on the moon.

—
All photos NASA. [1] “Untitled photograph from the Apollo 11 mission.” July 1969. [2] “Untitled photograph from the Apollo 11 mission.” July 20, 1969. [3] “Untitled photograph from the Apollo 11 mission.” July 1969. [4] “Untitled photograph from the Apollo 15 mission.” July 1971. [5] “Untitled photograph from the Apollo 11 mission.” July 1969. [6] “Untitled photograph from the Apollo 11 mission.” July 20, 1969. [7] “Untitled photograph from the Apollo 11 mission.” July 1969. All photos Gift of Susan and Peter MacGill.

04/08/2026

Wifredo Lam’s largest work on paper—the monumental “Grande Composition”—is an image of liberation and empowerment.

To achieve this large format, Lam pasted two sheets of paper together, first sketching the composition in charcoal and then applying washes of diluted oil paint. With large areas left unpainted, the brown hue of the kraft paper becomes integral to the figures, whose faces reference African and Oceanic masks.

Beyond these formal choices, Lam understood his paintings to serve a deeper purpose.

“I am not interested in painting for painting’s sake, nor in painting as decoration for beautiful interiors. A painting is something much deeper. These pictures of mine, I believe, reflect our life, our complexes and the idiosyncrasies of our people,” he said.

⏰ Closing soon! This is the last week to see “Wifredo Lam: When I Don’t Sleep, I Dream” on view at MoMA.

🖼️ Plan your visit to see “Grande Composition” and more before the exhibition closes April 11.

—
Wifredo Lam. “Grande Composition.” 1949. The Museum of Modern Art, New York. Acquired in memory of Gustavo Cisneros through the generosity of the Sue and Edgar Wachenheim III Endowment Fund, Mimi Haas, Marlene Hess and James D. Zirin, The Judith Rothschild Foundation Contemporary Drawings Collection Gift (by exchange), Committee on Drawings and Prints Fund, The Werner H. Kramarsky Endowment Fund for Drawings, Marie-Josée and Henry R. Kravis, Sue and Edgar Wachenheim III, Emilio Ambasz, Anne Dias Griffin, Agnes Gund, Richard Roth, Tony Tamer, Candace King Weir, The Dian Woodner Acquisition Endowment Fund, the Frances Keech Fund, Joshua and Filipa Fink, Ann and Graham Gund, Alice and Tom Tisch, the Richard S. Zeisler Fund, Adriana Cisneros de Griffin, Glenn D. and Susan Lowry, and Marian S. Pillsbury. © Succession Wifredo Lam, ADAGP, Paris / ARS, New York 2026

04/07/2026

📣 Explore the histories, politics, and aesthetics of demolition at the next MoMA R&D Salon, streaming live on April 8 at 6 p.m.

From the televised implosion of the Pruitt-Igoe housing complex in St. Louis in 1972 to Elon Musk wielding a chainsaw on stage at the Conservative Political Action Conference in 2025, demolition is often a spectacle: loud, visually arresting, and violent.

MoMA R&D Salon 57 will explore demolition, ranging from Shiva the Destroyer to urban renewal and slum clearance, from the White House’s East Wing to the work of artists like Gordon Matta-Clark, Michelangelo Antonioni, and Kara Walker.

The salon will feature presentations by Francesca Russello Ammon, Jody Graf, Christopher López, and Vyjayanthi Rao, as well as video contributions by Agbajowo Collective, Mona Hadler, Søren Pihlmann, Quinn Slobodian, Dr. Megan Sykes, and Kate Wagner.

MoMA R&D Salons, hosted by Paola Antonelli, explore the role of museums as the R&D of society.

📺 Stream it live on April 8 at 6 p.m. or watch the recording → mo.ma/rddemolition

—
[1] Gordon Matta-Clark and Gerry Hovagimyan working on "Conical Intersect." Photograph by Harry Gruyaert. [2] Portraits from left to right: Francesca Russello Ammon, Jody Graf, Christopher López, Vyjayanthi Rao.

04/06/2026

What if words could carry weight? ✏️

Dive deeper into artist Glenn Ligon’s process and the experiences that shaped him.

Growing up in the South Bronx and attending private school on scholarship in Manhattan, Ligon learned early what it meant to exist between worlds. In his Brooklyn studio, Ligon channels this tension using texts from writers like James Baldwin, Gertrude Stein, and Zora Neale Hurston, and transforms them through repetition, labor, and time. Through his stencils, oil sticks, layers of paint, and neon, the distorted words take on new form and meaning.

📺 Watch the short documentary and learn more about how his work questions and reimagines what it means to belong → mo.ma/ligonafa

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04/04/2026

“I will make even busy New Yorkers take time to see what I see of flowers.” — Georgia O’Keeffe

By the 1930s, artist Georgia O’Keeffe had become renowned for her representations of flowers, whose stems, petals, leaves, and reproductive organs she pictured larger than life size.

"An Orchid," shown here, embodies the strategies found across these works. Enlarging and cropping flowers, O’Keeffe channeled the techniques of photographers.

“In a way—nobody sees a flower,” O’Keeffe explained. “Really—it is so small—we haven’t time.” By magnifying these small organisms, she asks viewers to slow down and spend a moment looking.

🌷🖼️ Read more about O'Keeffe's practice → mo.ma/goconservation

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Georgia O'Keeffe. "An Orchid." 1941. Bequest of Georgia O'Keeffe. © 2026 Georgia O'Keeffe Museum / Artists Rights Society (ARS), New York.

04/03/2026

Did you know that kids 16 and under always get in free?

🎨 This spring break, enjoy special programming at MoMA just for families—including the workshop “Family Art Making: Portraits of Identity,” during which participants will use a custom gallery guide to explore portraiture in three special exhibitions.

🖼️ Visit new and old favorites in our galleries
✏️ Enjoy hands-on activities for all ages in the Heyman Family Art Lab
☕ Grab a bite at Cafe 2
🛍️ Shop new arrivals for spring at MoMA Design Store
… and so much more!

🎟️ Plan your visit and discover more resources for families at mo.ma/families.

—
Andrew Wyeth. Christina’s World. 1948. The Museum of Modern Art, New York. Purchase. 📸 Gus Powell

04/02/2026

📸 The latest challenge asked: How can photographic portraits create new ideas and possibilities?

Swipe through to see some of the answers to this prompt submitted by participants from all over the world!

The current challenge is inspired by “Ideas of Africa: Portraiture and Political Imagination,” an exhibition that embraces the creative potential of the photographic portrait and its political resonance across the globe.

🖼️ See “Ideas of Africa” on view at MoMA through July 25!

🔗 Find out how to join the → mo.ma/ioaphotoclub

—
Photos by [1] [2] [3] [4] [5] [6] (Instagram)

04/02/2026

How can invisible phenomena be made visible to the human eye?

Artist Peggy Weil’s “Core Memory” attempts to answer this question.

“The pace of climate change is too slow to apprehend,” says Weil, “and its substances—gases like methane and CO2—are invisible.”

A trailblazer of digital art, Weil has in the past decade turned her attention to what she calls “Extended Landscapes”: portraits of the invisible layers “beneath our feet, above our heads, and back in time.” Her work reveals the planet to be a recording device, inscribing climatic and geological events into polar ice sheets and sedimentary strata.

Weil’s “Core Memory” is now on view in MoMA’s lobby. Through these vertical time capsules, Weil makes the physical evidence of environmental shifts perceptible and undeniable. The installation comprises two of her “underscapes:” “88 Cores” and “18 Cores” (screening daily at 1:00 p.m.).

In collaboration with MoMA’s partner 현대카드, works presented on the Hyundai Card Digital Wall at the Museum are also simultaneously displayed in Seoul. Both locations feature Weil’s “Core Memory” through this fall.

Swipe to see Weil’s display on view at MoMA ↔️ and at Hyundai Card in Seoul.

—
[1] Installation view of the exhibition "Peggy Weil: Core Memory,” on view at The Museum of Modern Art, New York, from March 7, 2026–October 4, 2026. Photo: Jonathan Dorado © The Museum of Modern Art, New York. From “88 Cores.” [2] Weil’s installation at Hyundai Card in Seoul. Photo: Byungchul Jeon. [3] Peggy Weil photographed at the installation at Hyundai Card. Photo: Byungchul Jeon. [4] Installation view of “Peggy Weil: Core Memory,” on view at The Museum of Modern Art, New York, from March 7 through October 4, 2026. Photo: Jonathan Dorado © The Museum of Modern Art, New York. From “18 Cores.”

03/30/2026

🎂 On this day in 1853, Vincent van Gogh was born! 🎂

Throughout his life, one subject Van Gogh painted repeatedly was the landscape—both terrestrial and celestial. He was enchanted by the prospect of painting the sky in the hours between sunset and sunrise.

“It often seems to me that the night is even more richly colored than the day, colored in the most intense violets, blues, and greens,” he once wrote to his sister. “If you look carefully, you’ll see that some stars are lemony, others have a pink, green, forget-me-not blue glow...it’s clear that to paint a starry sky it’s not nearly enough to put white spots on blue-black.”

⭐ In June 1889, van Gogh devoted an entire canvas to his nocturnal vision with “The Starry Night.” See it on view now in our fifth-floor galleries.

💙 Swipe to see how Van Gogh’s swirling skies and vivid brushstrokes continue to inspire creative interpretations!

—
Vincent van Gogh. “The Starry Night.” Saint Rémy, June 1889. Acquired through the Lillie P. Bliss Bequest (by exchange). 📸 [Instagram] [1] [2] .griffin [3] .pam [4] [5]

03/27/2026

📣 Experience Frida Kahlo and Diego Rivera across stage and museum!

“Frida and Diego: The Last Dream” is now open.

A first-of-its-kind collaboration with the The Metropolitan Opera, the exhibition at MoMA features artworks by Kahlo and Rivera in an elaborate installation designed by Jon Bausor—the set and co-costume designer of “El Último Sueño de Frida y Diego,” a major new production opening at the Met later this spring.

📖 Read more about how Bausor translated his vision for the opera to MoMA’s galleries → mo.ma/bausorinterview

🎟️ Plan your visit! “Frida and Diego: The Last Dream” is open through September 12.

—
Frida Kahlo. “Self-Portrait with Cropped Hair.” 1940. Gift of Edgar Kaufmann, Jr. © 2026 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York. Installation view of “Frida and Diego: The Last Dream,” The Museum of Modern Art, New York, March 21–September 12, 2026. Photo: Jonathan Dorado. © 2026 The Museum of Modern Art, New York.

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Monday	10:30am - 5:30pm
Tuesday	10:30am - 5:30pm
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