Robert Frank</a> is best known for his pictures of a postwar America riven by social and political discord, and for the films he made with the poets of the Beat Generation and the Rolling Stones. So the filmed images found only after Frank’s death in 2019 may surprise some viewers. Tucked away in storage places, these film canisters and tapes, containing footage that spans the years 1970 to 2006, offer insight into the artist’s life and work. In partnership with the June Leaf and Robert Frank Foundation, Frank’s longtime film editor Laura Israel and the art director Alex Bingham have used these fragments to create a moving-image scrapbook. Featuring projections across multiple screens, the installation conveys the intimacy and immediacy of Frank’s observations of family, friends, and collaborators, as well as of domestic interiors and vistas of cities and coastlines.</p><p>The footage in this installation, stitched together by Israel and Bingham to evoke his restless gaze and voice, sheds new light on his artistic process—at once comical and melancholy. We watch Frank journey between his homes in New York and Nova Scotia; down the open roads of the United States and Canada; and amid urban landscapes, including those of Beirut, Cairo, Moscow, and his native Switzerland. Frank makes the most fleeting of pleasures timeless: a warm bath and a steaming tea kettle, a glimpse of his wife June Leaf in her studio, the play of sunlight on his hand.</p><p><br></p>" itemprop="description" />

works on paper by Paul Cézanne</a>, <a target="_blank" href=https://www.mutualart.com/Organization/MoMA--The-Museum-of-Modern-Art/"/Artist/Odilon-Redon/E81C33B947562FB8">Odilon Redon</a>, Georges-Pierre <a target="_blank" href=https://www.mutualart.com/Organization/MoMA--The-Museum-of-Modern-Art/"/Artist/Georges-Seurat/ACA28EBF8FB19C58">Seurat, and <a target="_blank" href=https://www.mutualart.com/Organization/MoMA--The-Museum-of-Modern-Art/"/Artist/Pablo-Picasso/68EFD50CBA356F91">Pablo Picasso</a>. Bliss was a fierce supporter of these groundbreaking artists at a time when modern art was often met with suspicion or ridicule. “They have something to say worth saying and claim for themselves only the freedom to express it in their own way,” she declared. Her uniquely generous gift, which allowed for the sale of her works to fund new acquisitions—including <a target="_blank" href=https://www.mutualart.com/Organization/MoMA--The-Museum-of-Modern-Art/"/Artist/Vincent-van-Gogh/7B9431E0214A25BE">Vincent van Gogh</a>’s The Starry Night—provided the young museum with a means to develop its collection far into the future.</p><p>Bliss’s remarkable contribution to the history of modern art in the United States remains under-recognized. This is partly due to her wish to stay out of the spotlight; at the end of her life, Bliss requested that her personal papers be burned. While much of her story remains left to the imagination, Lillie P. Bliss and the Birth of the Modern illuminates this pivotal figure through the works of art she loved most.</p><p><br></p>" itemprop="description" />

Otobong Nkanga</a> has changed the way we understand the Earth and our place in it. “Humans are only a small, minute part of the ecosystem,” the artist has said. “My works connect us to our shared histories, not just through land and geography, but through emotions shaped by events and encounters. These are the cadences of life.” Otobong Nkanga: Cadence presents a new commission by the artist: an all-encompassing environment of tapestry, sculpture, sound, and text that explores the turbulent rhythms of nature and society. Created specifically for MoMA’s Marron Family Atrium, the installation centers on a monumental, multi-paneled tapestry that suggests sprawling ecosystems and galaxies.</p><p>Suspended along the highest wall of the Atrium, the large-scale tapestry features a kaleidoscopic range of custom metallic, natural, and synthetic fibers created by the artist using innovative digital weaving techniques at the TextielLab in Tilburg, the Netherlands. Sculptures composed of dyed ropes, interwoven with hand-blown glass and ceramic forms, hang floor-to-ceiling alongside ceramic tablets imprinted with the artist’s poems. These diverse elements are brought together within an immersive sound work based on the voice and breathwork of the artist. Cadence confronts both the beauty and the degradation of the natural world—and its upheaval amid industrial and technological revolutions, resource extraction, and war. The monumental installation creates new ways of perceiving—and feeling—the massive shifts taking place in our time.</p><p><br></p>" itemprop="description" />

Teague invites us to reimagine the past by moving beyond "good modern design" as defined by institutions like MoMA. Drawing inspiration from artists and designers traditionally excluded from museums, and assisted by generative AI, he offers a reinterpretation of design history. These reimaginings—posters and full-scale prototypes shown alongside objects from MoMA’s collection—foreground makers of color and embody the cooperative, inventive spirit that guides Norman Teague Design Studios.</p><p>Teague balances reverence for design innovation with an acknowledgment of the power dynamics that shaped it. With the rise of AI forcing a wholesale reevaluation of human creativity, he reminds us of the creative potential of inviting a diversity of voices into the chorus. As in a musical jam session, collaboration, respect, and improvisation bring us back to the question that sparks every act of imagination—the what if—inviting us to contemplate both the past and the future as realms of boundless possibility.</p><p><br></p>" itemprop="description" />

Mullen. His vibrant paintings, with their lush surfaces and bold color, expand the long-standing tradition of making art about art.</p><p>For nearly 40 years, Mullen has been based at the NIAD Art Center, a progressive art studio for artists with developmental disabilities in his native Richmond, California. Donated issues of art publications, such as Art in America and Artforum, serve as his primary subject matter. Projects: Marlon Mullen presents a selection of the artist’s paintings from the past decade.</p><p>Upon selecting a glossy cover or an interior page as a point of departure, Mullen paints using acrylic on canvas, flat on a table. He maintains visual ties to his source material, while also radically transforming it. The resulting compositions reimagine the relationships among their parts. Barcodes and other details may zoom into prominence. Letters, numbers, punctuation, and the spacing between them may disappear or repeat. Imagery and graphics all become pure form to be reordered and reshaped. As this exhibition demonstrates, Mullen views magazines and art books not only as a prompt to create, but also as an invitation to engage with today’s art world on his own painterly terms.</p><p><br></p>" itemprop="description" />

Rozendaal, an innovator in the realm of Internet-based art. Since the early 2000s, his vibrant animations have explored the aesthetic and conceptual possibilities of code, treating it as if it were paint.</p><p>Because Rozendaal has chosen the Internet as his canvas, these works are accessible online by everyone. Each artwork starts as a storyboard sketched on paper, which is then translated into code and occupies only a handful of kilobytes. Its final form is an autonomous website powered by an algorithm that generates the animation in real time. Rozendaal’s practice unfolds within the visual possibilities of the browser, harnessing the flat yet multi-dimensional digital landscape.</p><p>This installation presents a selection of his websites, each sampled for two to three minutes on a high resolution screen measuring nearly 25 feet across. From the start, these artworks were intended to be resolution-independent and robust enough to withstand the evolution of software and screens. Rozendaal’s goal is for us to experience a state of immersion so complete that it becomes one with our physical world. As he explains, “I imagine we will live in a world where there is no difference between a screen and any other surface.”</p><p><br></p>" itemprop="description" />