MoMA Expands: A Look Inside

The Museum of Modern Art Expands: Complete Coverage

A diagram of the new Museum of Modern Art.

A rendering of the new Museum of Modern Art.

©2017 DILLER SCOFIDIO + RENFRO

On October 21, the Museum of Modern Art will reopen its doors to the public after a summer-long closure that allowed it to complete the finishing touches on its $450 million renovation and expansion. It is, without question, the event of the season in New York, and perhaps the entire art world, and it comes only about 15 years after its last expansion, which was met with dramatically mixed responses. Below, a complete guide to our coverage of the reopening, which will be continually updated. Watch this space.

Inside the Rehang
Reviews, slideshows, guides, and more for what’s on view at the new MoMA
The rehang and building, reviewed by Andrew Russeth    new
On a Haegue Yang installation for the atrium
A slideshow of what’s in the galleries, part 1
A slideshow of what’s in the galleries, part 2    new
A slideshow of what’s in the galleries, part 3    new
15 surprising works at the new MoMA, from early net art to a full-scale kitchen    new

What Do Artists Want from the New MoMA?
Howardena Pindell, Betty Tompkins, Lawrence Weiner, and many more respond.

MoMA Lore
Read about important happenings from the museum’s long history
Takis’s removal of an artwork from a 1969 show alters art history

A Look Back: MoMA’s Essential Shows
The most important shows in MoMA’s history—and what ARTnews said about them.
The 1930s: From its first show to a Bauhaus survey
The 1940s: From a Mexican art blockbuster to the first retrospective for a female artist
The 1950s: From a Jackson Pollock survey to a group show that altered the course of American art history
The 1960s: From a self-destructing Jean Tinguely to a critically savaged Op art show
The 1970s: From “Information” to a survey for a 33-year-old Frank Stella

Book Excerpt from Among Others: Blackness at MoMA
Read about the museum’s fumbled first showing of black American art in 1934, in this piece by Charlotte Barat and Darby English.

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