Member Calendar

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Front cover: Joan Miró. The Escape Ladder. 1940. Gouache, watercolor, and ink on paper, 15 3/4 x 18 3/4" (40.0 x 47.6 cm). Helen Acheson Bequest. © 2018 Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris

Pull-out calendar: Family Art Workshops. Photo: Martin Seck; Installation view, Bruce Nauman: Disappearing Acts, October 21, 2018–February 25, 2019, at MoMA and MoMA PS1. © 2019 Bruce Nauman/Artists Rights Society (ARS), New York. Photo: Martin Seck; Installation view, Charles White: A Retrospective, The Museum of Modern Art, New York, October 7, 2018–January 13, 2019. Photo: Austin Donohue; Installation views, Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980, The Museum of Modern Art, New York, July 15, 2018–January 13, 2019. Photos: Carly Gaebe; Lucinda Childs. Particular Reel. 1973. Performed in Lucinda Childs: Early Works, 1963–78, as part of Judson Dance Theater: The Work Is Never Done, The Museum of Modern Art, New York, September 16, 2018–February 3, 2019. Performer: Lucinda Childs. Digital image © 2018 The Museum of Modern Art, New York. Photo: Paula Court; A Closer Look for Kids. Photo: Martin Seck

Jan–Feb 2019

Joan Miró and The Museum of Modern Art go way back. In 1936, works by Miró appeared in two historic MoMA exhibitions—Cubism and Abstract Art and Fantastic Art, Dada, Surrealism—and the Museum added three Mirós to the collection. Today, more than 80 years after his first appearance here, Miró is internationally recognized as Surrealism’s most lyrical poet-painter. His work is a vivid reminder of the imagination’s radiant power and the limitless possibilities of poetry as a means of understanding the world. Joan Miró: Birth of the World, the first exhibition in almost half a century to present the Museum’s unrivaled collection of Miró’s work in depth, is centered around his masterwork The Birth of the World (1925). Viewed alongside over 60 other works that are rarely seen together, it sheds fresh light on Miró’s poetic process, material experimentation, and unique pictorial language of signs and space.

The Miró exhibition is one of an exceptionally varied group opening at the Museum this winter and spring, ranging from The Value of Good Design to Lincoln Kirstein’s Modern to New Order: Art and Technology in the Twenty-First Century. There is, however, a common denominator: Each of these exhibitions is drawn primarily from MoMA’s extraordinary collection. Collectively, they anticipate what you can expect to see when our expansion is completed later this year—more works from the collection than ever before, presented in myriad new ways. I can’t wait, and look forward to seeing you in the galleries during the Miró Member Previews (beginning on Feburary 20) and beyond!

Anne UmlandThe Blanchette Hooker Rockefeller Senior Curator of Painting and Sculpture

To Save and Project 10

Doc Fortnight 2019 15

Member Events 28

For Families 32–33

Joan Miró 8–9

Spring Season 4–7

The Value of Good Design 12–13

Highlights

The Value of Good DesignOpens Feb 10 Member Previews: Feb 6–9The Museum of Modern Art, Floor 3

Join our search for flawlessly designed and affordable answers to the question “What is good design and how can it enhance everyday life?” Answers range from iconic to unexpected items, such as a “city car,” a Chemex Coffee Maker, and a 1954 shrimp cleaner.

Peter Schlumbohm. Chemex Coffee Maker. 1941. Pyrex glass, wood, and leather, 9 1/2 x 6 1/8" (24.2 x 15.5 cm). Manufacturer: Chemex Corp., New York, NY. Gift of Lewis & Conger

Joan MiróBirth of the WorldOpens Feb 24 Member Previews: Feb 20–23The Museum of Modern Art, Floor 3

Experience Miró’s magical transformation of avant-garde poetry into radiantly imaginative paintings that were, in the artist’s words, “conceived like a bolt from the blue, absolutely detached from the outer world (the world of men who have two eyes in the space below their forehead).”

Joan Miró. The Beautiful Bird Revealing the Unknown to a Pair of Lovers. 1941. Gouache, oil wash, and charcoal on paper, 18 x 15" (45.7 x 38.1 cm). Acquired through the Lillie P. Bliss Bequest (by exchange). © 2018 Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris

As a member, you can experience our exciting spring season first. Mark your calendars for

Member Previews—you won’t want to miss a single exhibition. You’ll find something different

and inspiring in our galleries each time you visit.

A Look Ahead: Spring 2019

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Lincoln Kirstein’s ModernOpens Mar 17Member Previews: Mar 13–16The Museum of Modern Art, Floor 3

Immerse yourself in this visionary impresario’s expansive view of modern art, with a wide array of works including ballet designs and paintings by Paul Cadmus and Pavel Tchelitchew and photography by Walker Evans and George Platt Lynes.

Simone FattalOpens Mar 31MoMA PS1

Discover mystical, enigmatic sculptures that draw on ancient history and mythology in the artist’s first solo museum exhibition in the United States.

New OrderArt and Technology in the Twenty-First CenturyOpens Mar 17Member Previews: Mar 13–16The Museum of Modern Art, Floor 2

Revel in weird and unexpected hybrids of things, bodies, and data that push the boundaries of technology, in works from MoMA’s collection created by artists such as Josephine Pryde, Anicka Yi, Seth Price, and Basim Magdy.

Gina BeaversOpens Mar 31MoMA PS1

Delve into visceral, vexing paintings inspired by images of “food porn,” bodybuilder selfies, and makeup tutorials sourced from the Internet.

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Walker Evans. Lincoln Kirstein. c. 1931. Gelatin silver print, 6 3/8 x 4 1/2" (16.2 x 11.4 cm). The Museum of Modern Art, New York. Gift of the artist. © 2018 Walker Evans Archive, The Metropolitan Museum of Art

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Josephine Pryde. It’s Not My Body XII. 2011. Pigmented inkjet print, 31 1/2 x 19 1/2" (80 x 49.5 cm). Acquired through the generosity of Anne Ehrenkranz in honor of Gayle Greenhill

Gina Beavers. Smoky Eye Tutorial. 2014. Acrylic and wood on canvas panel. Courtesy the artist

Simone Fattal. Man in the Desert. 2000. Courtesy of the artist and kaufmann repetto, Milan, New York; Balice Hertling, Paris; Karma International, Zurich

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The Museum of Modern Art, Floor 3

New

Member Previews: Wed, Feb 20–Sat, Feb 23 Member Early Hours: Feb 20–Mar 12, 9:30–10:30 a.m.

“You and all my writer friends have given me much help and improved my understanding of many things,” Joan Miró told the French poet Michel Leiris in the summer of 1924, writing from his family’s farm in Montroig, a small village nestled between the mountains and the sea in his native Catalonia. The next year, Miró’s intense engagement with poetry, the creative process, and material experimentation inspired him to paint The Birth of the World.

In this signature work, Miró covered the ground of the oversize canvas by applying paint in an astonishing variety of ways that recall poetic chance procedures. He then added a series of pictographic signs that seem less painted than drawn, transforming the broken syntax, constellated space, and dreamlike imagery of avant-garde poetry into a radiantly imaginative and highly inventive form of painting. He would later describe this work as “a sort of genesis,” and his Surrealist poet friends titled it The Birth of the World.

Drawn from MoMA’s unrivaled collection of Miró’s work, augmented by several key loans, this exhibition situates The Birth of the World in relation to other major works by the artist. It presents some 60 paintings, works on paper, prints, illustrated books, and objects—made primarily between 1920, the year of Miró’s first, catalytic trip to Paris, and the early 1950s, when his unique visual language became internationally renowned—to shed new light on the development of his poetic process and pictorial universe.

MiróBirth of the World

Feb 24–Jul 6

Joan Miró. Still Life with Old Shoe. 1937. Oil on canvas, 32 × 46" (81.3 × 116.8 cm). Gift of James Thrall Soby. © 2018 Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris

Joan Miró. The Birth of the World. 1925. Oil on canvas, 8' 2 3/4" x 6' 6 3/4" (250.8 x 200 cm). Acquired through an anonymous fund, the Mr. and Mrs. Joseph Slifka and Armand G. Erpf Funds, and by gift of the artist. © 2018 Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris

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10 The Museum of Modern Art, TheatersThe Museum of Modern Art, Theaters

Members can reserve free film tickets in person and at moma.org/film.

To Save and Project: The 16th MoMA International Festival of Film Preservation kicks off with a tribute to Barbet Schroeder, spanning all of his documentary films, from rarely screened anthropological shorts made in 1971 in Papua New Guinea to the New York premiere theatrical run of The Venerable W. (2017).

Other festival highlights include “The Great Victorian Moving Picture Show,” an illustrated lecture of astonishing large-format 68mm Biograph and Mutoscope shorts from the late 19th century; Michael Anderson’s spy thriller The Quiller Memorandum (1966), written by Harold Pinter and starring Alec Guinness, George Segal, and Max Von Sydow; two merciless (auto-)portraits of the actor Sterling Hayden, made at the end of his life; and the world premiere of MoMA’s own restoration, in association with The Film Foundation, of Ernst Lubitsch’s Forbidden Paradise (1924). The festival concludes with the world premiere theatrical run of MoMA’s new restoration of Ida Lupino’s melodrama Never Fear (The Young Lovers) (1950).

The Quiller Memorandum. 1966. Great Britain. Directed by Michael Anderson. Courtesy Twentieth Century Fox/Photofest

To Save and ProjectJan 4–31

Members can reserve free film tickets in person and at moma.org/film.

Initially rejected by the American Negro Theater, a teenage Sidney Poitier, who had grown up in his parents’ native Bahamas, resolved to lose his accent and hone his skills, earning a spot with his second audition. His 1949 Broadway debut garnered favorable reviews despite the novice actor’s immense stage fright, and later that year he headed to Hollywood, where he landed a part in No Way Out (1950), as a doctor who endures the bigotry of his patients while trying to save their lives.

By 1964 Poitier was the first African American to win the Academy Award for Best Actor, for Lilies of the Field (1963), and three years later the incredible three-film run of Guess Who’s Coming to Dinner, To Sir, with Love, and In the Heat of the Night made him the biggest box-office draw of 1967. Over the subsequent decades this actor, director, author, diplomat, and humanitarian has earned innumerable awards and honors, including a knighthood and the Presidential Medal of Freedom. We are thrilled to present this selection of highlights from Sidney Poitier’s unparalleled filmography.

In the Heat of the Night. 1967. USA. Directed by Norman Jewison. Courtesy United Artists/Photofest

Modern Matinees Sir Sidney Poitier

Jan 2–Feb 28

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12 The Museum of Modern Art, Floor 3

Member Previews: Wed, Feb 6–Sat, Feb 9 Member Early Hours: Feb 6–Mar 12, 9:30–10:30 a.m.

“Is there art in a broomstick? Yes, says Manhattan’s Museum of Modern Art, if it is designed both for usefulness and good looks.” This quote, from a 1953 Time magazine review of one of MoMA’s mid-century Good Design exhibitions, gets to the heart of a question the Museum has been asking since its inception: What is good design and how can it enhance everyday life?

The Value of Good Design explores the democratizing potential of design, beginning with MoMA’s Good Design initiatives from the late 1930s through the 1950s, which championed well-designed, affordable contemporary products. The concept of Good Design also took hold well beyond the Museum, and this global scope is reflected in many of the items on view, from a mass-market Italian Fiat Cinquecento automobile and a Soviet-era East German Werra camera to a Japanese poster for a Mitsubishi sewing machine and a Brazilian bowl chair. These works join both iconic and unexpected items made in the US, such as the Eames La Chaise, a Chemex Coffee Maker, and Irwin Gershen’s Shrimp Cleaner.

The exhibition also raises questions about what Good Design might mean today, and visitors are invited to judge for themselves by trying out a few “good design” classics still in production, and exploring how, through its design stores, MoMA continues to incubate new products and ideas in an international marketplace.

The Value of Good Design Feb 10–May 27

Lina Bo Bardi. Poltrona Bowl chair. 1951. Steel and fabric, 21 5/8 × 33 1/16 × 33 1/16" (55 × 84 × 84 cm). Committee on Architecture and Design Funds. Photo: Jonathan Muzikar

Joel Robinson. Ovals textile. c. 1951–55. Screenprinted linen, 34 × 50" (86.4 × 127 cm). Manufactured by L. Anton Maix Fabrics (New York, NY, est. 1948). The Museum of Modern Art, New York. Committee on Architecture and Design Funds. Photo: Jonathan Muzikar

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Members can reserve free film tickets in person and at moma.org/film.

Doc Fortnight, MoMA’s annual international festival of nonfiction film, returns for its 18th year with eight days of innovative approaches to documentary filmmaking. Featuring a diverse assortment of features and short films from across the globe, the festival continues to highlight the vibrant and varied styles of independent filmmakers—both emerging and established—around the world. At a time of escalating sociopolitical tension, Doc Fortnight continues its history of showcasing nonfiction film that challenges our perceptions of the changing world and the traditional model of documentary cinema.

The Next Guardian. 2017. Hungary. Directed by Arun Bhattarai, Dorottya Zurbo. Courtesy Syndicado Film Sales LLC

Doc Fortnight 2019Feb 21–28

The Museum of Modern Art, TheatersThe Museum of Modern Art, Theaters

Members can reserve free film tickets in person and at moma.org/film.

The Future of Film Is Female returns to MoMA this winter, continuing its mission to provide wider access to recent independent films directed by women, while championing increased representation, equitable workplaces, and gender parity in the film industry. Highlights of the second season include Kate Novack’s debut The Gospel According to Andre, a preview screening of Nia DaCosta’s Little Woods, a special presentation from the touring punk rock TV show The Eyeslicer, and more.

Begun as a funding program for women developing short films, The Future of Film Is Female has expanded its mission, partnering with MoMA to support contemporary films directed by women early in their careers in an effort to have their voices represented and respected on equal footing with their male counterparts. This two-year, seasonal series presents narrative, documentary, and genre features preceded by short films. Each season will reflect and respond to changes in filmmaking, financing, and exhibition as the industry responds to the ongoing lack of equal representation.

Little Woods. 2018. USA. Directed by Nia DaCosta. Courtesy NEON

The Future of Film Is Female, Part 2

Feb 14–21

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The Museum of Modern Art, Floor 2

Ongoing

Constantin Brancusi SculptureOngoingMember Early Hours: Jan 2–Feb 5, 9:30–10:30 a.m.Member Gallery Talk: Jan 16, 12:30 p.m.The Museum of Modern Art, Floor 2

Constantin Brancusi (1876–1957) first showed his work in the United States at the 1913 Armory Show in New York. Reflecting on the presentation, one critic described his sculptures as “disturbing, so disturbing indeed that they completely altered the attitude of a great many New Yorkers towards a whole branch of art.” Brancusi’s beguilingly simple forms looked like nothing else, then or since.

Rather than modeling clay like his peers, Brancusi carved his work directly from wood or stone, and cast it in bronze. Simultaneously, he rejected realism, preferring that his sculptures evoke rather than resemble the subjects named in their titles, such as Bird in Space or Fish. He made bases for many of his sculptures, themselves complex constructions that became part of the work.

This exhibition celebrates MoMA’s holdings of Brancusi’s work—11 sculptures accompanied by a selection of drawings, photographs, and rare films. What emerges is a rich portrait of an artist whose risk-taking and inventive approach to form changed the course of the art that followed.

Ongoing

Constantin Brancusi. The Newborn. Version I, 1920. Bronze, 5 3/4 × 8 1/4 × x 5 3/4" (14.6 × 21 × 14.6 cm). Acquired through the Lillie P. Bliss Bequest (by exchange). © Succession Brancusi - All rights reserved (ARS) 2019

The Long Run OngoingThe Museum of Modern Art, Floor 4

“Works by artists 45 and older who have just kept on keeping on...sometimes saving the best for last.”—The New York Times

Innovation in art is often characterized as a singular event—a bolt of lightning that strikes once and forever changes what follows. The Long Run provides an alternate view: by chronicling the continued experimentation of artists long after their breakthrough moments, it suggests that invention results from sustained critical thinking, persistent observation, and countless hours in the studio. Each work in this presentation exemplifies an artist’s distinct evolution. For some, this results from continually testing the boundaries of a given medium, for others it reflects the pressures of social, economic, and political circumstances. Often, it is a combination of both.

The Long Run includes monographic galleries and rooms that bring together artists across a broad range of backgrounds and approaches. All the artists in this presentation—drawn entirely from MoMA’s collection—are united by a ceaseless desire to make meaningful work, year after year, across decades. They include Louise Bourgeois, Fischli/Weiss, Philip Guston, David Hammons, Joan Jonas, Agnes Martin, Joan Mitchell, and many others.

Installation view of The Long Run, The Museum of Modern Art, New York, November 11, 2017–ongoing. Artworks by Philip Guston. Gifts of Edward R. Broida. © 2019 The Estate of Philip Guston. Photo: Martin Seck

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The Museum of Modern Art, Floor 3The Museum of Modern Art, Theater Galleries

Looking at Jerry Lewis The Nutty Professor Storyboards Through Mar 3The Museum of Modern Art, Theater Galleries

Few stars from the golden age of the Hollywood studio system valued looking—and being looked at—more than Jerry Lewis (1926–2017) did. He made acknowledging his audience an essential aspect of the “comedy of looks” that characterized his work, and in no other Lewis film is the experience of being seen so central as in The Nutty Professor. In this adaptation of the Dr. Jekyll and Mr. Hyde story, his dual performance as the self-effacing Professor Kelp and the narcissistic Buddy Love represents different sides of the Lewis persona. A recent gift to the Museum, John Lauris Jensen’s storyboards for The Nutty Professor are graphic interpretations of the script, suggesting elements of performance, staging, lighting effects, camera placement, and cutting continuity. The 11 storyboard sequences on display anticipate the look and experience of the motion picture, skilfully expressing Lewis’s intentions as both director and performer.

Though he is better known for his work on period action films and Westerns, Jensen’s collaborations with Jerry Lewis, which also include The Bellboy (1960) and The Family Jewels (1965), prove he was equally skilled at visualizing physical and dramatic comedy.

John Lauris Jensen. Storyboard for The Nutty Professor (detail). 1963. USA. Directed by Jerry Lewis. Gift of Chris Lewis

Toward a Concrete Utopia Architecture in Yugoslavia, 1948–1980 Through Jan 13 The Museum of Modern Art, Floor 3

“Outstanding”—The New York Times

Situated between the capitalist West and the socialist East, Yugoslavia developed a postwar architecture that responded to contradictory demands and influences, both in line with and distinct from the design approaches seen elsewhere in Europe and beyond. Put to the task of constructing a socialist society based on “self-management,” modern architecture was a key instrument in implementing this utopian vision. Toward a Concrete Utopia is the first major US exhibition to study this remarkable body of work. With more than 400 drawings, models, photographs, and films, the exhibition examines architecture’s capacity to produce civic space and common history in a highly diverse, multiethnic society.

Installation view of Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980, The Museum of Modern Art, New York, July 15, 2018–January 13, 2019. Photo: Martin Seck

Last Chance

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Installation view of Charles White: A Retrospective, The Museum of Modern Art, New York, October 7, 2018–January 13, 2019. Artwork by Charles White. © The Charles White Archives. Photo: Austin Donohue

Charles White A RetrospectiveThrough Jan 13Member Gallery Talk: Jan 2, 12:30 p.m. The Museum of Modern Art, Floor 3

“The urgency of [White’s] message—our shared humanity—could not arrive at a more critical time.”—The New Yorker

Over the course of his four-decade career, Charles White’s commitment to creating powerful images of African Americans was unwavering. Using his virtuoso skills as a draftsman, printmaker, and painter, he developed his style and approach over time to address shifting concerns and new audiences. In each of the cities in which he lived—Chicago, New York, and, finally, Los Angeles—White became a key figure within a vibrant community of creative artists, writers, and activists.

White’s far-reaching vision of a socially committed practice attracted promising young artists, and he became one of the 20th century’s most important and dedicated teachers. Acclaimed contemporary artists David Hammons and Kerry James Marshall were among his many students: as Marshall reflected, “Under Charles White’s influence I always knew that I wanted to make work that was about something: history, culture, politics, social issues. … It was just a matter of mastering the skills to actually do it.”

Charles White: A Retrospective charts White’s full career—from the 1930s through his premature death in 1979—with over 100 works, including drawings, paintings, prints, photographs, illustrated books, record covers, and archival materials.

Projects 195 Park McArthurThrough Jan 27The Museum of Modern Art, Floor 4

Park McArthur makes work that often responds to the institutional and architectural context of exhibition spaces. Projects 195: Park McArthur takes shape against the background of the Museum’s ongoing west-end expansion, which is scheduled for completion in 2019 and will add gallery space in an adjacent, newly developed tower with 145 private luxury apartments above the Museum.

McArthur worked with a fabricator to produce a modular, stainless steel structure which will be rearranged several times over the course of the exhibition. It doubles as an exploratory proposal for a mixed-use building with artist studios, a public gallery, and below-market apartments for disabled and non-disabled people who mutually receive and provide care. Also comprising works on paper, and an audio guide, Projects 195 focuses on the social realities and possibilities within the architectural parameters of site and scale.

While this presentation is number 109 in the Projects series, the artist changed this count to 195, as MoMA held 86 Projects exhibitions before introducing the numbering system. A work in its own right, this alteration draws attention to the Museum’s standardized institutional language, which McArthur has compared to “a frame through which the exhibition arrives”—it contains the work and shapes how we view it.

Installation view, Projects 195: Park McArthur, The Museum of Modern Art, New York, October 27, 2018–January 27, 2019. Courtesy Park McArthur and ESSEX STREET, New York. Photo: Denis Doorly

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You organized the current exhibition about Judson Dance Theater. What’s one thing you’d like people to know about this work and group of artists?The choreographers, filmmakers, composers, and artists who gathered at the Judson Memorial Church in the early 1960s were collaborating across media and showing what it took to produce the work they made together. What they did was a proposal for the process of assembly and collective decision-making—a laboratory for a political life and artistic community.

What’s your favorite part of putting together an exhibition?Even though you plan for many years, read the literature, and talk to as many people as possible, there is always an unknown element of what will happen once everything comes together. Performance takes this element of surprise and faith to the next level!

What’s one of the most surprising things about your job?There’s both a lot of thought and planning that goes into deciding who, how, and when an artist should have an exhibition or be acquired by the Museum, as well as a fair amount of well-argued belief and intuition that goes into the process. Balancing the two is not an exact science, but I’m lucky to work with colleagues,

both at MoMA and beyond, to guide it and be accountable to multiple constituencies.

Who was the first artist whose work interested you, and why? My parents took me to see all kinds of things as a child—museum exhibitions, cabaret shows, campy films—so I honestly can’t remember the first artist who interested me. If culture is engaged with in this way—and I believe it’s the role of institutions to facilitate this— hopefully we can all have a “first” artist on a more regular basis.

If you could “borrow” a work from MoMA’s collection, what would it be?Just the other night, some friends crowded around and did Simone Forti’s Huddle, a work in MoMA's collection and in the exhibition, which involves climbing over one another. So I guess this isn’t a hypothetical question...

If you weren’t a curator what do you think you’d be doing?I once was on a path to becoming a lawyer, doing impact litigation and direct action with queer and trans immigrant communities of color here in New York. I hope that I get to build deeper bridges with people who are doing this work, which I think of as happening in tandem with the cultural work I do here.

Ask a CuratorThomas J. Lax is an associate curator in the Department of Media and Performance Art and co-organizer of Judson Dance Theater: The Work Is Never Done. We asked Thomas to tell us about his job and how he sees art in the 21st century.

Judson Dance Theater The Work Is Never DoneThrough Feb 3The Museum of Modern Art, Floor 2 & Marron Atrium

“Judson Dance looks back with anger and toughness.”—The New York TImes

For a brief period in the early 1960s, a group of choreographers, visual artists, composers, and filmmakers gathered in Judson Memorial Church, a socially engaged Protestant congregation in New York’s Greenwich Village, for a series of workshops that ultimately redefined what counted as dance. Through open workshops, Judson Dance Theater artists challenged traditional understandings of choreography, and employed new compositional methods, incorporating

“ordinary” movements, along with games, simple tasks, and social dances to infuse their pieces with a sense of spontaneity. The Judson participants, including Trisha Brown, Lucinda Childs, Robert Morris, Steve Paxton, and Yvonne Rainer, among others, would go on to profoundly shape all fields of art in the second half of the 20th century. Judson Dance Theater: The Work Is Never Done highlights the ongoing significance of the history of Judson Dance Theater, beginning with workshops led by Anna Halprin, Robert Ellis Dunn, and James Waring, and exploring the influence of figures such as Simone Forti and Andy Warhol, as well as venues for collective action like Judson Gallery and the Living Theatre. This exhibition celebrates the group’s multidisciplinary, collaborative ethos and range of participants through a gallery exhibition, a print publication, and an ambitious performance program.

For programming details, visit moma.org/judsondance.

David Gordon. THE MATTER @ MOMA/2018. 2018. Performance. Performed in Judson Dance Theater: The Work Is Never Done, September 16, 2018–February 3, 2019. Performers: Valda Setterfield, Wally Cardona. Photo: Paula Court

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Bruce NaumanDisappearing ActsThrough Feb 18 at MoMA and Feb 25 at MoMA PS1Member Early Hours at MoMA: Through Feb 18, 9:30–10:30 a.m.The Museum of Modern Art, Floor 6 & MoMA PS1

“In the past half-century, he has created masterpieces in nearly every medium and, in the process, pushed the limits of what art can—and should—do.”

—The New York Times

For nearly 50 years, Bruce Nauman has been a central figure in contemporary art. He has continuously explored how spatial and psychological tensions—provoked by shifting perceptions of time, sound, language, and movement—shape human experience.

Bruce Nauman: Disappearing Acts encompasses Nauman’s entire career, from drawing, printmaking, photography, and neon to performance, video, film, sculpture, and architecturally scaled environments that literally immerse viewers. This expansive presentation across both of MoMA’s locations—the Museum’s entire sixth floor and all of MoMA PS1—offers two distinct but complementary perspectives. The exhibition marks the US premiere of two works: Leaping Foxes (2018), a large-scale sculptural work, and his 3-D video projection Contrapposto Split (2017). The nearly 50-foot-long Kassel Corridor (Elliptical Space) (1972) will be on view in New York for the first time.

Probing structures of power and established norms, questioning such values as “good” and “bad,” and leaving his work open to multiple, often conflicting, understandings, Nauman repeatedly tests the viewer’s willingness to relinquish the safety of the familiar.

Installation view, Bruce Nauman: Disappearing Acts, October 21, 2018–February 25, 2019, at MoMA and MoMA PS1. © 2019 Bruce Nauman/Artists Rights Society (ARS), New York. Photo: Martin Seck

Installation view, Bruce Nauman: Disappearing Acts, October 21, 2018–February 25, 2019, at MoMA and MoMA PS1. © 2019 Bruce Nauman/Artists Rights Society (ARS), New York. Photo: Martin Seck24 25

When my son—a sweet, stubborn, silly, intriguing boy who has autism—was about six or seven (he’s a teenager now), he would ask his father, his childcare provider, or me to “go see ‘Oof,’” by which he meant Edward Ruscha’s 1962 painting OOF. I didn’t know anything about this work before then, but it quickly became my favorite piece at MoMA. The yellow letters floating against the deep blue background seemed to stimulate my son’s senses and his emergent literacy, which has been a true gift that lets him communicate with the world.

In a visceral way, the almost nonsensical word seemed to encapsulate all the effort I put into making sure that, despite his disability, my son experienced affection, pleasure, and wonder, even when he didn’t make it easy (which was often enough). The two “O”s also felt like a pair of eyes, taking in that effort. But the unlikeliness of that has also been an important reminder not to take myself too seriously. A close friend, who is a poet, likes to announce, “Oof!” whenever she hears about a new anecdote, challenge, or celebration that involves my son. Ruscha’s painting has given me a way of thinking about the work, care, and humor that has made my son a person loved by many.

Edward Ruscha OOF 1962

Chosen by Crystal Parikh, Individual member since 2008

Edward Ruscha. OOF. 1962. Oil on canvas, 71 1/2 × 67" (181.5 x 170.2 cm). Gift of Agnes Gund, the Louis and Bessie Adler Foundation, Inc., Robert and Meryl Meltzer, Jerry I. Speyer, Anna Marie and Robert F. Shapiro, Emily and Jerry Spiegel, an anonymous donor, and purchase. © 2019 Edward Ruscha

My Favorite WorkWe asked a member to choose their

favorite work from our collection and tell us how it has inspired or influenced them.

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Member Events

Member Early HoursDaily, 9:30–10:30 a.m.

Open to all members (with the exception of Global and MoMA NYC members) and accompanying guests. Present your membership card and/or member guest admission ticket at the Museum entrance.

Jan 2–Feb 5Constantin Brancusi Sculpture

Feb 6–Mar 12The Value of Good Design

Feb 20–Mar 12Joan Miró: Birth of the World

Through Feb 18Bruce Nauman: Disappearing Acts

Member Shopping DaysFri, Feb 1–Sun, Feb 4

Save 20% on all products at the Design Stores, at store.moma.org, and in our catalog, including furniture and sale items (cannot be combined with any other offer or discount).

Member Gallery Talks 12:30 p.m.

Free, one-hour tours just for members on the first and third Wednesday of each month.

Wed, Jan 2LAST CHANCE! Charles White: A Retrospective

Wed, Jan 16Constantin Brancusi Sculpture

Wed, Feb 6To be announced

Wed, Feb 20To be announced

Member After Hours 6:30–8:30 p.m.

Members are invited to join us for exclusive after-hours access when the Museum is closed to the public. Selected exhibitions will be open and MoMA educators will be on hand to offer insights about the works on view.

Members can also “Sip and Shop” at MoMA Design Store on 53rd Street from 5:30 to 7:00 p.m. and enjoy complimentary wine and prosecco before heading to the Museum.

Tue, Jan 22Bruce Nauman: Disappearing Acts

Collection Galleries 1880s–1950s

Mon, Feb 25Joan Miró: Birth of the World

The Value of Good Design

Photo: Christiana Rifaat

Photo: Carly Gaebe

Programs

Gallery SessionsDaily, 11:30 a.m. & 1:30 p.m.

Join us for lively conversations and engaging activities, facilitated by Museum educators, that offer insightful and unusual ways to engage with collections and special exhibitions.Groups meet in the galleries noted on the schedule. Gallery Sessions are free for members and Museum admission ticket holders. No registration is required.

Quiet MorningsWed, Jan 9 & Wed, Feb 6, 7:30–9:00 a.m.

See your favorite works from MoMA’s collection and take in new exhibitions, all without the crowds. Guided meditation takes place at 8:30 a.m. Free for members, and member guests are $5. Adults $15, seniors $12, full-time students with current ID $10, children (16 and under) free

Dance Constructions WorkshopSat, Jan 5, 2:30 p.m. & Tue, Jan 8, 12:30 & 2:30 p.m., The Agnes Gund Garden Lobby

Workshops based on Simone Forti’s Dance Constructions allow participants to experience firsthand how dance was redefined in the 1960s. Learn the simple, everyday movements and improvisations that make up these works, and form a live sculpture with other dancers.Workshops are free. Open to ages 15 and above. Space is limited, and available first come, first served. Sign-up begins 30 minutes before each workshop. Workshops involve physical contact with other participants.

Movement ResearchThu, Jan 17–Sat, Jan 25, Marron Atrium

In the final weeks of Judson Dance Theater: The Work Is Never Done (see page 23), the Marron Atrium hosts the New York–based Movement Research (MR), one of the world’s leading laboratories for the investigation of dance and other movement-based forms. MR will be offering classes, workshops, reading groups, and studies projects dialogues, transforming the Marron Atrium into a space for the creative process and education.Classes are free and open to the public. For more information, visit moma.org/judsondance.

Prime Time: Gallery ConversationThu, Jan 17, 2:00–3:30 p.m., Museum galleries

Interactive tours highlight a variety of artists, movements, and themes represented in MoMA’s collection and exhibitions. Registration opens Thursday, December 20, at 9:30 a.m.Prime Time is an initiative to engage older New Yorkers at MoMA and in the community. For more information and to register, visit moma.org/primetime.

Dance Constructions Workshop. Photo: Julieta Cervantes

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Judson Dance Theater: A Collective SpeculationSun, Jan 27, 12:00–7:00 p.m., MoMA PS1

This full-day symposium will reassess the Judson group’s continuing influence through presentations, discussions, and sound improvisations by artists, scholars, and critics. This program is coorganized with Malik Gaines, André Lepecki, and Fred Moten of New York University’s Tisch School of the Arts Department of Performance Studies.

Talking Nauman Selected Sundays, Jan 20 & 27, Feb 3, 10 & 24,3:00–4:00 p.m., MoMA PS1

Presented in conjunction with Bruce Nauman: Disappearing Acts, this series of gallery talks focuses on individual works on view at MoMA PS1. Featuring artists, scholars, and critics, including Julia Bryan-Wilson, Che Gossett, Kathy Halbreich, Mary Heilmann, Ana Janevski, Rin Johnson, John Kelsey, Ajay Kurian, Sarah Lehrer-Graiwer, Thomas Lax, Carolyn Lazard, John Miller, Aura Rosenberg, and others, the series provides new perspectives on the breadth and scope of Nauman’s work.Free with admission

Open Studio: Laurel Atwell and Jessica CookSun, Jan 13, 3:00–6:00 p.m., MoMA PS1

This winter, New York–based choreographers and performers Laurel Atwell and Jessica Cook will workshop ideas and build on existing material as part of a VW Dome Artist Residency at MoMA PS1. Over the course of their six-week residency, Atwell and Cook will harness the architecture of the VW Dome to merge their separate creative processes on neutral ground. This Open Studio marks the culmination of Atwell and Cook’s residency.Free with admission

Prime Time Film Screening Meek’s CutoffTue, Feb 12, 1:30 p.m., T1

A group of settlers on the Oregon Trail begin to doubt their guide as their harrowing journey grows longer. Registration opens Tuesday, January 8, at 9:30 a.m.Prime Time is an initiative to engage older New Yorkers at MoMA and in the community. For more information and to register, visit moma.org/primetime.

Modern MondaysBuilding upon the Museum’s eight-decade tradition of fostering cinematic innovation and experimentation, Modern Mondays invites artists working in the expanded field of film, video, performance, and sound to present their work in an intimate setting. Each evening presents a unique opportunity for audiences to engage in dialogue with artists, along with curators and other guests.

For an up-to-date schedule, visit moma.org/modernmondays.Members and children (16 and under) free. Tickets $12, seniors $10, full-time students with current ID $8

An Evening with Peggy AhweshMon, Jan 14, 7:00 p.m. T2

As part of To Save and Project (see page 10), artist Peggy Ahwesh joins us to discuss one of her favorite filmmakers, exploitation auteur Doris Wishman. Ahwesh will present a new restoration of Wishman’s Nude on the Moon (1961), and a reissue of Ahwesh’s 1995 zine The Films of Doris Wishman will be available.

An Evening with Ralph Lemon and Pope.LMon, Jan 28, 7:00 p.m. T2

Inspired by his intensive study of Bruce Nauman’s Wall/Floor Positions (1965/68), choreographer and artist Ralph Lemon offers a meditation on the body, race, and the space of the studio, with a response from the multidisciplinary artist Pope.L. Presented in conjunction with Bruce Nauman: Disappearing Acts (see page 24)

An Evening with Annie Sprinkle and Beth Stephens Mon, Feb 25, 7:00 p.m. T2

As part of Doc Fortnight 2019 (see page 15) Annie Sprinkle and Beth Stephens join us to present their new film Water Makes Us Wet—An Ecosexual Adventure. This poetic blend of curiosity, humor, sensuality, and concern chronicles the politics and pleasure of H2O from an ecosexual perspective.

VW Sunday Sessions at MoMA PS1MoMA PS1’s acclaimed VW Sunday Sessions welcomes visitors to experience art live and in real time. Embracing performance, music, dance, conversations, and film, the program vividly demonstrates how these art forms can push us to engage with our contemporary world in creative, illuminating ways. With an emphasis on artistic practices that blur and break traditional genre boundaries, VW Sunday Sessions supports and commissions new work, inviting artists, curators, and other cultural instigators to share their latest projects.Tickets (unless otherwise noted): Members $13, nonmembers $15

Laurel Atwell and Jessica Cook. 2018. Photo: Whitney Browne

Meek’s Cutoff. 2010. USA. Directed by Kelly Reichardt. Courtesy the filmmaker

Water Makes Us Wet—An Ecosexual Adventure. 2017. USA. Directed by Annie Sprinkle, Beth Stephens. Courtesy the filmmakers

Fred W. McDarrah’s photograph of Cecil Taylor, Jimmy Lyons, and Andrew Cyrille (from left) performing at the Five Spot Café, New York, April 18, 1975. © Fred W. McDarrah/Premium Archive/Getty Images

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For Families

Photo: Martin Seck

Art Lab Nature Daily, 10:30 a.m.–4:30 p.m. Fri, 10:30 a.m.–6:30 p.m. Education and Research Building

Discover how artists and designers are inspired by the natural world in our multisensory installation. Create a nature-inspired design, draw and arrange with natural materials, and explore nature discovery boxes. All ages are welcome.For more information, please call (212) 708-9805 or email familyprograms@moma.org.

Tours for FoursSaturdays and Sundays, Jan 5–27 & Feb 2–24, 10:20–11:15 a.m., Education and Research Building

Look, listen, and share ideas while you explore modern and contemporary art. Movement, drawing, and other gallery activities give everyone the chance to participate.January’s theme is Spotlight on Sculpture. February’s theme is Color Connections.For kids age four and their adult companions. Free tickets are distributed on a first-come, first-served basis starting at 10:00 a.m. on the day of the program. For details, visit moma.org/family.

A Closer Look for Kids Saturdays and Sundays, Jan 5–27 & Feb 2–24, 10:20–11:30 a.m., Education and Research Building

Engage in lively discussions and fun activities while looking closely at modern masterpieces and cutting-edge contemporary art. Each month a new theme is introduced. Kids and adults participate. January’s theme is Modern Movement. February’s theme is Materials and Process.For kids ages five to 10 and their adult companions. Free tickets are distributed on a first-come, first-served basis starting at 10:00 a.m. on the day of the program. For details, visit moma.org/family.

Family FilmsOvercoming ObstaclesSat, Jan 19, 12:00–1:00 p.m., T3

Enjoy new and classic family-friendly short films, engaging discussions, and suggestions for follow-up activities in the Museum’s galleries. This program is for individual families of up to two adults and up to three kids.For kids ages seven and up and their adult companions. Free tickets are distributed, first come, first served, at 10:00 a.m. on the day of the program. For details, visit moma.org/family.

Family Art Workshops Select Saturdays and Sundays, 10:30 a.m.–12:30 p.m. & 2:00–4:00 p.m.,Education and Research Building

Explore works in MoMA’s collection and special exhibitions, then use your experience in the galleries as inspiration for art making in the studio.

Move Your Body Jan 13, 19, 20 & 27, age 4

Let nature and everyday gestures guide you in this movement workshop inspired by the pathbreaking performances of the Judson Dance Theater.Kids and adults participate. Advance registration required; register beginningJanuary 3. For details, visit moma.org/family.

Simplified SculptureFeb 2, 3, 9, 10, 16 & 17, ages 11–14

Get inspired by the abstract, simplified sculptures of Constantin Brancusi, then use natural materials to create your own.Kids and adults participate. Advance registration required; register beginning January 23. For details, visit moma.org/family.

Family FilmsNot So Ordinary ObjectsSat, Feb 9, 12:00–1:00 p.m., T3

Enjoy new and classic family-friendly short films, engaging discussions, and suggestions for follow-up activities in the Museum’s galleries. This program is for individual families of up to two adults and up to three kids.For kids ages four and up and their adult companions. Free tickets are distributed, first come, first served, at 10:00 a.m. on the day of the program. For details, visit moma.org/family.

Tours for Tweens Sat, Jan 26, Sun, Jan 27, Sat, Feb 23 & Sun, Feb 24, 10:30 a.m.–12:00 p.m.,Education and Research Building

Share ideas and consider different perspectives about works of art. Kids and adults participate. January’s theme is What Makes it Modern? February’s theme is What Makes Good Design?For kids ages 11 to 14 and their adult companions. Advance registration required; begins January 16 for What Makes it Modern? and February 13 for What Makes Good Design? For details, visit moma.org/family.

Photo: Martin Seck

Photo: Martin Seck

Photo: Martin Seck

Photo: Martin Seck

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Art Making with MoMA: 20 Activities for Kids Inspired by Artists at The Museum of Modern ArtBy Elizabeth Margulies and Cari FrischPaperback, 128 pages, illustrated throughout$24.95/Members $22.45Drawing on over 18 years of family programming at the Museum, this colorful activity book is filled with clear instructions, thought-provoking prompts, and full-color reproductions of works in MoMA’s collection. Using easy-to-find materials—many of them recycled and everyday household objects—these activities encourage hours of imagining, designing, experimenting, constructing, creating, tinkering, and play.

Bio Design: Nature + Science + CreativityBy William Myers. Foreword by Paola AntonelliPaperback, 304 pages, 500 illustrations $29.95/Members $26.95 Bio Design examines thrilling new ways in which biology is being applied outside the lab, showcasing some 70 projects that cover a range of fields—from architecture and industrial design to fashion and medicine. This revised and expanded edition celebrates the most innovative and often radical approaches to biological design in recent years, and includes 12 new projects. It also features a new how-to section with tips for collaboration between designers and scientists, FAQs, and further resources, as well as a fully revised introduction.

Books

The Value of Good Design

Member Shopping Days: Feb 1–4

Featuring selections from MoMA’s collection, the exhibition The Value of Good Design (see page 12) includes furniture, appliances, electronics, toys, and more. Some of the designs on display are also offered at MoMA Design Store, including the Butterfly Stool. Designed in 1954 by Sori Yanagi, the stool is an elegantly simple, soaring design in molded plywood and steel.

Shop

store.moma.org moma.org/books34 35

The Museum of Modern Art11 West 53 Street, New York, NY 10019

Your VisitOpen daily, 10:30 a.m.–5:30 p.m. UNIQLO Free Friday Nights, 4:00–8:00 p.m.Closed Thanksgiving Day and Christmas

Members free ($5 guest tickets available on each visit). Adults $25; seniors (65 and over with ID) $18; students (full-time with current ID) $14; children (16 and under) free

DiningMembers receive 10% off during Museum hours.Cafe 2 (floor 2) features sharable Italian-inspired plates, wine, and beer. Saturday–Thursday, 11:00 a.m.–5:00 p.m. Friday, 11:00 a.m.–7:30 p.m.

Terrace 5 (floor 5) is a full-service café. Outdoor seating is available in season. Saturday–Thursday, 11:00 a.m.–5:00 p.m. Friday, 11:00 a.m.–7:30 p.m.

Cafe 2 Espresso Bar and Garden Bar (seasonal) Saturday–Thursday, 10:30 a.m.–3:30 p.m. Friday, 10:30 a.m.–5:30 p.m.

The Modern (9 West 53 St.) is a two-Michelin-starred restaurant. Member discount does not apply.Lunch Monday–Friday, 12:00–2:00 p.m. Dinner Monday–Saturday, 5:00–10:30 p.m.

The Modern Bar RoomMember discount available 3:00–5:00 p.m. only. Monday–Thursday, 11:30 a.m.–10:30 p.m. Friday–Saturday, 11:30 a.m.–11:00 p.m. Sunday, 11:30 a.m.–9:30 p.m.

ShoppingAll members save 10%.Museum Store (floor 2) Open during Museum hours

Bookstore (floor 2)Open during Museum hours

MoMA Design Store44 West 53 Street. (212) 767-1050 Open daily, 9:30 a.m.–6:30 p.m. Fridays, 9:30 a.m.–9:00 p.m.

MoMA Design Store, Soho81 Spring Street. (646) 613-1367 Open daily, 10:00 a.m.–8:00 p.m.; Sunday, 11:00 a.m.–7:00 p.m.

Order onlinestore.moma.org

Order by phone(800) 447-6662

Film TicketsMembers receive free film admission and $5 guest admission, but must still obtain a ticket.

Tickets are released two weeks in advance, and are available online, at the ticketing desk, and at the Education and Research Building lobby desk.

Membership(888) 999-8861membership@moma.org

Your VisitOpen daily, 12:00–6:00 p.m. Closed Tuesdays and Wednesdays

Members free ($5 guest tickets available on each visit). Adults $10; seniors (65 and over with ID) $5; students (full-time with current ID) $5; children (16 and under) free. Admission fees are suggested.Admission to MoMA PS1 is currently free for all NYC residents, courtesy of the Anna-Maria and Stephen Kellen Foundation.

DiningM. Wells Dinette is a cafeteria-style restaurant by Hugue Dufour and Sarah Obraitis.

ShoppingArtbook @ MoMA PS1The most vibrant source for cutting-edge contemporary art books and magazines on the East Coast.

MoMA PS122-25 Jackson Ave, Queens, NY 11101

Special Program Sponsors

Major Donors to ProgramsAnnual Education FundAnnual Education FundVolkswagen of AmericaLewis B. and Dorothy Cullman Education and Research EndowmentSarah ArisonEdward John Noble FoundationThe Ford Foundation Crown Family Education FundStavros Niarchos FoundationTrustee Committee on EducationThe Enoch FoundationGeneral Education EndowmentDebra and Leon D. BlackThe LOVE Fund for EducationEpstein Teicher PhilanthropiesLeo and Julia Forchheimer FoundationElyse and Lawrence B. BenensonEdith Cooper and Robert Taylor, GS GivesThe Contemporary Arts Council of The Museum of Modern Art

Paula and James CrownKathy and Richard S. Fuld, Jr.Marlene Hess and James D. ZirinThe James and Judith K. Dimon FoundationGretchen S. JordanMarie-Josée and Henry R. KravisLily Auchincloss Foundation, Inc.Audrey and Danny MeyerJerry I. Speyer and Katherine G. FarleyTiger Baron Foundation, Inc.Susan and David Rockefeller, Jr.

Annual Exhibition FundEstate of Ralph L. RiehleKate W. Cassidy FoundationAlice and Tom TischThe Marella and Giovanni Agnelli Fund for ExhibitionsThe Contemporary Arts Council of The Museum of Modern ArtMimi and Peter Haas Fund

Brett and Daniel SundheimFranz WassmerKaren and Gary WinnickOya and Bülent Eczacıbaşı

Annual Film FundKate W. Cassidy FoundationSteven TischBlavatnik Family FoundationAna and Henry PincusJo Carole and Ronald S. LauderAssociation of Independent Commercial Producers (AICP)The Junior Associates of The Museum of Modern ArtThe Brown Foundation, Inc., of HoustonMarlene Hess and James D. ZirinKen Kuchin and Tyler MorganNion T. McEvoyMichael S. OvitzKaren and Gary WinnickYuval Brisker Charitable Foundation

Thank You to Our PartnersWe are proud to thank our major Corporate Partners, whose generosity and dedication to ourmission make possible so many important programs at both the Museum and MoMA PS1.

A series of programs at The Museum of Modern Art and MoMA PS1 is supported by a partnership with Volkswagen of America.

MoMA Audio is supported by Bloomberg Philanthropies.

UNIQLO Free Friday Nights are made possible by a partnership with UNIQLO.

A series of special exhibitions is sponsored by Hyundai Card.

Target School and Teacher Programs are sponsored by Target®.

Education at MoMA is made possible by a partnership with Volkswagen of America.

Major support for Adult and Academic Programs is provided by the Estate of Susan Sabel. Generous funding is provided by endowments established by Agnes Gund and Daniel Shapiro, The Junior Associates of The Museum of Modern Art, Walter and Jeanne Thayer, and by the gifts of Alan Kanzer.

Community Programs are made possible by the Werner and Elaine Dannheisser Fund for Older Adults. Additional support is provided by Karen Bedrosian Richardson and The Elroy and Terry Krumholz Foundation.

Family Programs are made possible by The William Randolph Hearst Endowment Fund. Generous funding is provided by Brett and Daniel Sundheim. Art Lab is generously supported by Mrs. Ronnie F. Heyman.

Education at MoMA is supported by the Annual Education Fund.

Exhibitions at MoMA are supported by the Annual Exhibition Fund.

Film exhibitions at MoMA are supported by the Annual Film Fund.

The Value of Good Design, Joan Miró: Birth of the World, Lincoln Kirstein’s Modern, and New Order: Art and Technology in the Twenty-First Century are supported by the Annual Exhibition Fund.

Bruce Nauman: Disappearing Acts is made possible by Laurenz Foundation, Schaulager Basel.

Leadership support is provided by The Sandra and Tony Tamer Exhibition Fund.

Major support is provided by The International Council of The Museum of Modern Art and by The Jill and Peter Kraus Endowed Fund for Contemporary Exhibitions.

Generous funding is provided by The Hayden Family Foundation, Sully Bonnelly and Robert R. Littman, Ellen and William Taubman, The Contemporary Arts Council of The Museum of Modern Art, and by LLWW Foundation.

Additional support is provided by the MoMA PS1 Annual Exhibition Fund and by The Museum of Modern Art's Annual Exhibition Fund.

The Elaine Dannheisser Projects Series is made possible in part by the Elaine Dannheisser Foundation and The Junior Associates of The Museum of Modern Art.

Judson Dance Theater: The Work Is Never Done is made possible by Hyundai Card.

Leadership support is provided by Monique M. Schoen Warshaw, The Jill and Peter Kraus Endowed Fund for Contemporary Exhibitions, and by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.

Major support is provided by Jody and John Arnhold and by The Contemporary Arts Council of The Museum of Modern Art.

Generous funding is provided by The Harkness Foundation for Dance.

VW Sunday Sessions and the VW Dome at MoMA PS1 are made possible by a partnership with Volkswagen of America, who have supported the program since its inception.

Major support is provided by the Anna-Maria and Stephen Kellen Foundation.

Dance programming as part of VW Sunday Sessions at MoMA PS1 is supported in part by the Mertz Gilmore Foundation.

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The Value of Good DesignFeb 10–May 27The Museum of Modern Art, Floor 3

Dante Giacosa. 500f city car. Designed 1957 (this example 1968). Steel with fabric top, 52 × 52 × 116 7/8" (132.1 × 132.1 × 296.9 cm). Manufactured by Fiat S.p.A. (Turin, Italy, est. 1899). The Museum of Modern Art, New York. Gift of Fiat Chrysler Automobiles Heritage. Photo: Jonathan Muzikar

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