Christine Sun Kim</a> (b. 1980, Orange County, California) engages sound and the complexities of communication in its various modes. Using musical notation, infographics, and language—both in her native American Sign Language (ASL) and written English—she has produced drawings, videos, sculptures, and installations that often explore non-auditory, political dimensions of sound. In many works, Kim draws directly on the spatial dynamism of ASL, translating it into graphic form. By emphasizing images, the body, and physical space, she upends the societal assumption that spoken languages are superior to those that are signed.&nbsp;</p><p>This exhibition surveys Kim’s entire artistic output to date and features works ranging from early 2010s performance documentation to her recent site-responsive mural, Ghost(ed) Notes (2024), re-created across multiple walls on the eighth floor. Inspired by similarly named works made throughout her career, the exhibition’s title, All Day All Night, points to the vitality Kim brings to her artmaking; she is relentlessly experimental, productive, and dedicated to sharing her Deaf lived experiences with others.</p><p><br></p>" itemprop="description" />

Jeanne Moutoussamy-Ashe</a> (b. 1951, Chicago, IL; lives and works in South Kent, CT) has made photographs that testify to the beauty and complexity of Black life, honoring the rhythms of the everyday and marking important rites of passage for the people who appear in them.&nbsp;</p><p>In 1977, following an earlier six-month independent study in West Africa, Moutoussamy-Ashe traveled back across the Atlantic Ocean to Daufuskie Island, which sits between Hilton Head, South Carolina, and Savannah, Georgia. There and on the other surrounding Sea Islands, she began making photographs among the Gullah Geechee—many of them descendants of the formerly enslaved people who acquired land from white plantation owners when they fled at the conclusion of the Civil War. For Moutoussamy-Ashe, these places, separated by the Atlantic, were inextricably linked, with the Sea Islands representing connective tissue within the Black diaspora; a place shaped by violent centuries of slavery and a community steadfast in the protection and nourishment of its unique culture and people. The Daufuskie Island photographs honor these entwined histories and the artist’s personal perspective. How images are made, cared for, and consumed are enduring concerns for the artist, who maintains, “Photography should force us to question ourselves and to question the environment in which we live.”</p><p>Drawn from the Whitney’s collection, this focused presentation includes a selection of Moutoussamy-Ashe’s black-and-white Daufuskie Island photographs and the artist’s related publications. Portraits of children and elders, images of homes and the shoreline, people at work and at rest, and church services together form an impression of a community—and a place—on the cusp of great change.&nbsp;</p><p><br></p>" itemprop="description" />

work by Amy Sherald</a> (b. 1973, Columbus, Georgia; lives and works in the New York City area) is featured on the building facade on Horatio Street across from the Whitney and the High Line.</p><p>Four Ways of Being brings together four portraits by the artist—some never before seen in New York—and explores the intersection of past, present, and future. Each painting captures a distinct way of existing in the world. Here, she reimagines her subjects from diverse backgrounds and generations coexisting in a shared moment, inviting the viewer to contemplate the fluidity of time and the complex ways our histories shape our understanding of ourselves.</p><p><br></p>" itemprop="description" />

Sherald: American Sublime brings together some fifty paintings by one of the foremost artists of our time. In her first major museum survey, Amy Sherald (b. 1973, Columbus, Georgia; lives and works in the New York City area) presents work from 2007 to the present, from her poetic early portraits to the incisive and moving figure paintings for which she is best known. Iconic portraits of First Lady Michelle Obama and Breonna Taylor—two of the most recognizable and significant paintings made by an American artist in recent years—are joined by early works, never or rarely seen by the public, and new work created specifically for this presentation. American Sublime, Sherald’s first solo exhibition at a New York museum, considers the powerful impact of her paintings on contemporary art and culture while positioning her squarely within the art historical tradition of American realism and figuration. In her intentional privileging of Black Americans as her subjects, she extends that tradition to include a population who has historically been omitted from portraiture and representation. Sherald has described her paintings of everyday people as a more expansive vision of interiority and selfhood. The resulting body of work is a profoundly resonant ode to the multiple facets of American identity, and a convincing testament, as Sherald believes, that “imagination is image in action.”</p><p><br></p>" itemprop="description" />