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MoMA The Museum of Modern Art  The world's museum for modern and contemporary art. Discover artists and ideas that surprise, challenge, and inspire you.

“I think of...this beauty for the sake of something greater than just itself. Beauty with a purpose, the intention to actualize your dreams, your hopes.” –Rachel Donelan, guest specialist, connects the “optimistic glamour” of her grandmother to the utopian vision of Bodys Isek Kingelez.
#ArtSpeaks is a day of community and conversation led by Museum staff. Watch Rachel’s full gallery talk on “Étoile Rouge Congolaise” (1990) on our Facebook page at

“Sharon collaborated with Ana Janevski, Martha Joseph, and me on our exhibition 'Judson Dance Theater: The Work Is Never Done'—watching video of Grand Union, speaking with us about photographic documentation of Judson performances, and writing for our catalogue. We often returned to her ideas and her work, which place our intimate relations side by side with violence and warfare—something that links our time with the early 1960s.” –Thomas J. Lax (@thomaslax), associate curator #JudsonDance
What artwork changed the way you look at the world? Inspired by Bruce Nauman, this month’s Staff Picks celebrate the many ways in which art pushes us to pay attention to the world around us. Explore more #MoMApicks:

[Credit: Sharon Hayes. “Everything Else Has Failed! Don’t You Think It’s Time For Love?” 2007. Five spray paints on paper, frame (each poster framed). Acquired through the generosity of Jill and Peter Kraus, Committee on Media and Performance Art Funds, and Committee on Prints and Illustrated Books Funds. © 2018 Sharon Hayes. Courtesy of the artist and Tanya Leighton Gallery, Berlin]

As we prepare for major moments ahead in 2019, we can’t help but reflect on the creativity and conversations that made this past year great. From inspiring artists like Adrian Piper, Tarsila do Amaral, Tania Bruguera, and Carolee Schneemann who lit up our galleries, to programs like our At the Museum video series and A Piece of Work podcast that pushed #MoMACollection beyond our Museum walls—relive all the ways that art and people connected in 2018 in our Instagram Story and

[Images: Elizabeth Murray’s “Do the Dance” (2005) on view in “The Long Run” at MoMA. Photo: Christiana Rifaat; “Adrian Piper: A Synthesis of Intuitions, 1965–2016” at MoMA. Photo: Martin Seck; #ArtSpeaks in the “Tarsila do Amaral: Inventing Modern Art in Brazil” galleries. Photo: Beatriz Meseguer; Abbi Jacobson hosts “A Piece of Work.”]

Share your love of art and all the benefits of MoMA membership this holiday season. Members see exhibitions first and enjoy unlimited free admission, $5 guest passes, members-only viewing hours and more! Learn more at

“There is no police force in this city, to protect the city, there are no soldiers to defend it, no doctors to heal the sick. It’s a peaceful city where everybody is free. It’s a city that breathes nothing but joy, the beauty of life. It’s a melting pot of all races in the world. Here you live in a paradise, just like heaven.” –Bodys Isek Kingelez
In his largest cityscape, “Ville Fantôme” (1996), Kingelez makes his utopian vision of the world an earthly reality. Now on view in #KingelezCityDreams.

[Credit: Bodys Isek Kingelez. “Ville Fantôme.” 1996. Paper, paperboard, plastic and other various materials. CAAC - The Pigozzi Collection, Geneva. © Bodys Isek Kingelez]

“You cannot be living oblivious of the political time you are in, and artists are the people who can actually say what other people have not yet formed… Dignity has no rest. Dignity doesn't rest.” –Tania Bruguera
On December 3, 2018, Cuban police detained @taniabruguera and several other Cuban artists for protesting Decree 349. This new law would prohibit independent artists from operating in private and public spaces without the approval of the government. We stand in solidarity with Bruguera and the artists of Cuba supporting free expression and saying #NoAlDecreto349.
MoMA Chief Curator of Media and Performance Art Stuart Comer and Director of Editorial and Content Strategy Leah Dickerman called the artist days after her release from police custody. Listen as Bruguera shares more about her arrest, how Decree 349 will affect the artistic community in Cuba, and the connection between her activism and her art:

[Artwork details: Installation view of the exhibition "Tania Bruguera: Untitled (Havana, 2000)." February 03, 2018 - March 11, 2018. The Museum of Modern Art. Photo: John Wronn]

“Nauman’s principal theme is the body—both his body and ours—as a vessel and a source of information, and he reveals it to be an unstable foundation for understanding our place in the world.” –Taylor Walsh, curatorial assistant, offers a crash course in the work of #BruceNauman and why his work remains urgent today. Read more:
Our expansive retrospective “Disappearing Acts” is now on view at MoMA and @MoMAPS1.

[Installation view of the exhibition "Bruce Nauman: Disappearing Acts" at MoMA PS1. Photo: Martin Seck]

Tomorrow night, meet us at @momaps1 for a wintry Night at the Museum! Join artists and friends in ringing in the holidays with a live performance by Bonaventure (@bonaventure_mbote), after hours access to #BruceNauman: Disappearing Acts, and a one-of-a-kind ceramics sale with the artists of International Space Station, a collaborative project featuring work by more than 100 artists from Nicole Eisenman to the teenage artists of @widerainboworg. Finally, get cozy in the VW Dome with hot chocolate, churros, and mulled wine. The festivities begin at 8 p.m. Tickets available at
Hosted by International Space Station artists including: Pam Lins, Trisha Baga, Halsey Rodman, Nicole Eisenman, Rirkrit Tiravanija, Maryam Hoseini, and many more. 100% of the profits of the ceramics sale will benefit organizations including Wide Rainbow (@widerainboworg), Gays Against Guns (@gaysagainstgunsny), Critical Resistance (@criticalresistance), Greenwich House Pottery (@greenwichhousepottery), and the Immigration Defense Project.
International Space Station is organized by Pam Lins, Halsey Rodman, Trisha Baga, and Ceramics Club (CC), with Greenwich House Pottery.
Illustration by @braulioamado

You never know when old friends will pop up in the #MoMACollection galleries. After 1952, dripping and pouring paint were no longer the primary means of expression for Pollock. The totemic forms at the left and right in “Easter and the Totem” reflect his renewed interest in using a brush to paint quasi-figurative images. The bright colors and expansive spaces anchored by large swaths of black suggest the influence of Henri Matisse, who was the subject of a large retrospective that Pollock would have seen at MoMA the previous year. The push and pull between abstraction and figuration is a thread that weaves through Pollock's entire career. As he said, in the last year of his life, "I'm very representational some of the time, and a little all of the time." Visit Jackson Pollock’s “Easter and the Totem” (1953) on the fifth floor.

[Credit: Jackson Pollock. “Easter and the Totem.” 1953. Oil on canvas. Gift of Lee Krasner in memory of Jackson Pollock. © 2018 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York]

Take a closer look at the Monument to the Revolution on Mount Kozara through the eyes of our Instagram community. Thank you to everyone who shared their photos with us! Designed by Dušan Džamonja from 1970-72, the memorial commemorates an intense 1942 battle in which Axis troops laid siege to Partisan resistance units and local civilians. Visitors enter through slits in the tower’s concrete fins to a dark, cramped interior space where light penetrates through an opening at the top, accentuating the tense atmosphere. Learn more about how architecture is used as a tool for collective remembrance in our exhibition, “Toward a #ConcreteUtopia: Architecture in Yugoslavia, 1948–1980.”

Featured 📷: @edinsart, @vitali_gio, @fast_moving_kid

We remember Charles “Chuck” Harrison (1931-2018) who passed away on November 29. A visionary industrial designer, Harrison joined Sears, Roebuck and Company in 1961 where he was the first African American executive in the company’s headquarters. Throughout his thirty-three year tenure at Sears, Harrison was responsible for designing staple every day items such as the first-of-its-kind plastic trash can and the reimagined plastic View-Master, a stereoscopic device that was sold as a toy along with thin cardboard disks, each of which containing seven 3-D pairs of small Kodachrome color photographs on film (termed“View-Master reels”).

In 2008 the Cooper Hewitt Smithsonian Design Museum honored Harrison with a Lifetime Achievement Award for improving “the quality of life of millions of Americans through the extraordinary breadth and innovation of his product designs.” A 1962 model of the View-Master has been part of #MoMAcollection since 2016.

[Credit: #CharlesHarrison. “View-master (model G).” 1962. Injection molded plastic. Anonymous gift.]

“I really wanted to treat him as though he were a living artist.” –Paulina Pobocha, associate curator, shares how the #BrancusiMoMA team stayed true to how sculptor Constantin Brancusi wanted his work to be seen.
#ArtSpeaks is a day of community and conversation led by Museum staff. Watch Paulina’s full gallery talk on selected works from our exhibition “Constantin Brancusi Sculpture” on our Facebook page at

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