For the first time ever, lay eyes on one of the only complete and gilded Books of the Dead—the world’s finest existing copy. The Brooklyn Museum’s conservation team spent three years carefully restoring this 21-foot papyrus, which now debuts in a special Spotlight within our refreshed gallery dedicated to ancient Egyptian funerary practices. Filled with gleaming vignettes, the scroll appears alongside one of the earliest Books of the Dead and fascinating artifacts, such as gold amulets and reed pens. Unrolling Eternity illuminates both ancient burial rites and the artistic prowess behind a rare masterpiece, as well as the cutting-edge techniques used to preserve it. In ancient Egypt, Books of the Dead guided the deceased through the underworld, each one personalized with spells for a particular individual. The gilded manuscript, dating between 340 and 57 B.C.E., holds nearly all 162 spells known from the longest versions. Unlike most surviving examples, it includes blank opening and closing pages that confirm its completeness. Conservation and curatorial efforts have also revealed its original owner—Ankhmerwer, son of Taneferher (“the one beautiful of face”)—offering an extraordinary connection to a person who lived more than two millennia ago.

Celebrating the Year of the Horse brings together works from The Met collection to explore the horse’s enduring nature and vital place in Chinese civilization.

Flip Sides: Seeing Korean Art Anew invites close looking and offers multiple views of the inside, reverse, or hard-to-see aspects of objects.

A site-specific sculpture by Klára Hosnedlová drawing on Eastern Bloc architecture and centuries-old craft traditions.

A new work for the New Museum’s facade by Tschabalala Self explores connection and romance through the lens of architecture and public space.

Installation. Through Nov 8. For more than 50 years, Joan Snyder has been making abstract paintings with experimental materials, imbuing them with symbolic references. Drawing inspiration from her life and surroundings, she has established an expansive glossary of motifs and collaged materials, which include fabric, plastic fruit, flowers, and herbs. Through painting, the artist often endeavors to convey the fundamental emotions that connect humans to one another. In My August, Snyder looked to nature as a guide; she created the work while immersed in a bucolic environment in upstate New York. Rosebuds, flower stems, and straw are layered with oil and acrylic paint of varying thicknesses. Delicate dripping trails of paint intersect with thickly applied brush strokes that punctuate the canvas with shades of pink, turquoise, blue, and green. At the lower left is an abstracted white shape of a pond, bordered by straw—a “sacred space” for the artist.

Installation. Through Nov 18. Born in Iran and raised in the United States, Sheree Hovsepian recalls growing up with “a hyper awareness” of her body as “a politically charged location.” This experience has continually shaped how she depicts the human figure. The artist constructs bodies from fragments, assembling photographs of body parts—mostly her sister’s, as a stand-in for the artist—into three-dimensional compositions. These works also incorporate ceramics, nylon hosiery, string, and wood. Hovsepian has said that she is drawn to materials that resist full control: “The materials have agency.” In Awoken (2018), stretched hosiery creates an opening across the surface, partially veiling the figure beneath. In Stranger on Display (2024), stacked walnut semicircles extend below a photographed back, echoing the vertebrae of the spine. In Rapport (2024), the image of an arm reaches outward from a ceramic torso. Across these works, bodies appear in parts rather than as unified wholes—assembled, provisional, and deliberately unsettled.

Drawing America: US@250 From Pride to Election Day 2026, the Brooklyn Museum marks the 250th anniversary of the signing of the Declaration of Independence with Drawing America: US@250. A season of art installations, programs, and partnerships, Drawing America honors those who have imagined a more equitable future and fought for the promise of our democracy—and those who continue to do so today. The exhibition Common Sense puts America’s past in dialogue with its present. Statesman, abolitionist, and philosopher Thomas Paine is credited with framing the argument for independence at the onset of the American Revolution. His most important writings, Common Sense (1776) and The American Crisis (1776–83), shaped revolutionary discourse and expanded what the colonists believed was possible for their future nation. Today, as 250 years ago, the country is navigating deep division—and just as Paine’s texts did then, contemporary art offers hope, inspiration, and momentum. Common Sense pairs these two foundational documents with nine contemporary works that speak to the ongoing quest, as Paine wrote, “to begin the world over again.” Pieces by Paul Ramírez Jonas, Charles Gaines, and Jason Kao Hwang celebrate how community and music can reinforce the core tenets of democracy. Öyvind Fahlström, Joyce Kozloff, Hank Willis Thomas, and Kara Walker represent and reframe American histories, chronicling both turmoil and progress. Newly commissioned text-based works by Donald Moffett and Maynard Monrow use graphic design strategies to deliver a clear message about our current moment: Power lies with us. Continue your Drawing America journey in Donald Moffett: IMPEACH .

The exhibition Costume Art pairs garments from The Met's collection with artworks to reveal the inherent relationship between clothing and the body.

A new sculpture commission by Sarah Lucas celebrates women claiming space in public life.

Iris van Herpen: Sculpting the Senses celebrates one of the most forward-thinking fashion designers of her generation. Get tickets now . A pioneer in the use of new technologies, Van Herpen transcends conventional clothing norms while embracing both traditional couture artisanship and innovative techniques. Ranging from the micro to the macro, the exhibition explores the body’s place in space, its relationship to clothing and its environment, and its future in a rapidly changing world. More than 140 extraordinary haute couture creations are shown alongside contemporary artworks and designs—by artists including Philip Beesley, Rogan Brown, Casey Curran, Kim Keever, and Nick Knight—as well as scientific artifacts and natural history specimens such as coral, fossils, and skeletons. These accompanying pieces not only are placed in dialogue with Van Herpen’s designs, but also deeply inform and shape her creative process. Rare archival materials and a soundscape by composer Salvador Breed add to this interdisciplinary, multisensory experience. In this way, the exhibition reveals the experimental spirit that has reshaped 21st-century fashion. Worn by luminaries including Beyoncé, Björk, Cate Blanchett, Miley Cyrus, Lady Gaga, and Ariana Grande, Van Herpen’s designs draw on biomimicry, fractal geometry and mathematics, and neuroscience, transforming cutting-edge discoveries into sculptural gowns and ethereal fabrics. Sculpting the Senses takes you on a journey from the ocean’s depths to the universe’s outer reaches. Step inside to explore the fluidity of water, the physics of motion, the perception of sound and light, and nature’s profound interconnectedness. The Brooklyn Museum stop is the North American debut of this global presentation. Building on our legacy of defining fashion exhibitions, as well as our roots as an institute of both arts and sciences, it marks the first major New York presentation of Van Herpen’s work. Artists, architects, and designers featured in the exhibition are Agostino Arrivabene, Philip Beesley, Lanny Bergner, Rogan Brown, Katsumata Chieko, the Japanese art collective 目 [Mé], Casey Curran, Wim Delvoye, Tara Donovan, Harold Edgerton, Senju Hiroshi, Kim Keever, Nick Knight, Ferruccio Laviani, Tomáš Libertíny, Courtney Mattison, Ren Ri, Jacques Rougerie, Fujikasa Satoko, David Spriggs, James Turrell, Tim Walker, and Rob Wynne.

This exhibition examines the language of portraiture from about 1900 to the 1960s through nearly 80 works from The Met collection.

Explore the enchanted realms of imaginary beings. Set in the evocative atmosphere of The Met Cloisters, Creatures of Myth and Imagination: Europe and the Americas sheds light on a selection of works created on either side of the Atlantic Ocean between 500 and 1500 CE.

Oded Halahmy: Models in Wood presents sculptures made primarily in the 1970s, following Halahmy’s move to New York from London after studying at Saint Martin’s School of Art. Their titles evoke family, ritual, and spatial orientation, while their forms often suggest ladders and windows. Mostly made in advance of the artist’s monumental sculptures, each work is an intimate and hand-wrought expression of a singular artistic language rooted in memory and movement. Born in Baghdad, Iraq, in 1938 to a family of Orthodox Jews, Halahmy learned to carve in his father’s goldsmith shop. In 1951 the family was airlifted from Iraq to Israel as part of a mass migration of Jews fleeing persecution amid rising antisemitism. This early experience of displacement only deepened his connection to the cultures of Mesopotamia, which have continuously shaped the form and meaning of his work. As the artist explains, “I found my way back to Iraq through making art.” This focused installation is located on Floor 3 within Identity, Culture, and Continuity: Stories from the Collection of the Jewish Museum .

Artist Alison Kuo will develop a new performance while in residence at the New Museum, drawing on the traditions of Cantonese Opera and the cultural life of Manhattan's Chinatown.

From Andy Warhol to Maurizio Cattelan, this exhibition features Pop art from the collection and its enduring influence on contemporary artists.

Drawing America: US@250 From Pride to Election Day 2026, the Brooklyn Museum marks the 250th anniversary of the signing of the Declaration of Independence with Drawing America: US@250. A season of art installations, programs, and partnerships, Drawing America honors those who have imagined a more equitable future and fought for the promise of our democracy—and those who continue to do so today. Step onto the floor of the US House of Representatives in December 1998. As the chamber debates whether to impeach President Bill Clinton, Representative John Lewis delivers a deeply personal speech about surviving a devastating storm—and about holding a divided nation together. His passionate testimony became a rallying cry to stay united as a national family, weathering the storm that Clinton’s trial represented as a divisive partisan issue for the American people. In IMPEACH , artist Donald Moffett (American, born 1955) turns that moment into an immersive sound installation, inviting listeners to hear Lewis’s words and their echoes anew. Removing the speech from its original context, Moffett allows us to focus on the details of the congressman’s story, the echoes of applause, and the sound of the gavel as the Chairman of the Judiciary Committee attempts to silence him. Along with imagining how Lewis’s speech landed almost 30 years ago, IMPEACH is an opportunity to consider its meaning on the United States’ 250th anniversary, a time again marked by both hostility and hope. See more of Moffett’s artwork in Common Sense , also part of Drawing America.

P. S. Art is an annual celebration of the creativity, talent, and artistic achievement of New York City Public Schools students and their dedicated art teachers.

Orientalism: Between Fact and Fantasy is the first exhibition at The Met to explore Orientalism as its central focus

For the MoMA PS1 Plaza Mural, Esteban Cabeza de Baca (b. 1985, San Diego) debuts a work that weaves together Mesoamerican iconography, labor histories, and speculative futures. The work envisions a rupture in the physical wall, opening into a dimension where for the artist, advocacy for migrant communities is inseparable from the protection of the land. Drawing from the ongoing United Farm Workers movement and tenets of Liberation Theology, which originated in Latin America in the late 1960s and drew from Marxist thought to address poverty and other forms of oppression, Cabeza de Baca anchors the composition with syncretic iconography of resistance and survival: a black eagle, hands entwined with prayer beads, and a sunburst of divine protection, amongst others. Collapsing chronologies, these motifs are interwoven with atmospheric abstractions and totemic references to the Three Sisters, deities of sustenance central to sustenance in indigenous cultures across the Americas, symbolized through corn, beans, and squash. Layered with nods to Mexican Muralism, the Works Progress Administration, and the local history of 5Pointz, the mural reframes the public plaza as a site of social advocacy and communal imagining. Esteban Cabeza de Baca is a painter who lives and works between Queens, New York, and the Southwestern United States. His work has been exhibited at venues such as MoCA Tucson (2023), The Drawing Center (2019), the Royal Palace Amsterdam (2018), the Yale University School of Sacred Music (2017), and the Leroy Neiman Art Center (2014, 2015), among others. Cabeza de Baca has received numerous grants and awards, including a Civitella Ranieri Visual Art Fellowship (2024), a NYFA Painting Fellowship (2021), a Henk en Victoria de Heus Fellowship (2018), a Stokroos Foundation Grant (2017), a Sharpe-Walentas Studio Program Award (2014), a Stern Fellowship (2013), and a Robert Gamblin Painting Grant (2013). He received a BFA from Cooper Union, School of the Arts in 2010 and an MFA from Columbia University in 2014.