City of Memory: Nanjing in the Seventeenth Century explores how artists lived and worked in this charged environment in the decades before and after the fall of the Ming dynasty.

Exhibition. Through Nov 29. At a time when AI is dramatically changing how we see, what does it mean to visualize a world that’s no longer centered on the human mind? Pierre Huyghe’s immersive, otherworldly works have redefined how art can engage with technology, human consciousness, and the natural environment. UUmwelt, presented on freestanding screens throughout the Abby Aldrich Rockefeller Sculpture Garden, uses machine learning to explore what it might look like if nonhuman entities could reconstruct our thoughts. Working with a team of neuroscientists in Kyoto, Japan, Huyghe asked a human subject to imagine a set of images while an fMRI scanner recorded their brain activity. An artificial neural network then used the data from the scans to generate thousands of visual interpretations of what they might have imagined. Hallucinatory and fragmentary, these indeterminate mental images reveal the neural network’s attempts to interpret and refine the data while conjuring a reality different from our own. The work is activated in real time by the gazes of visitors to the Sculpture Garden (which are detected by a sensor) and data collected from virtual simulations of cancer cell mutations. These inputs determine the creation of new images and their sequencing on the screens, drawing metaphorical connections between the limitless proliferation enabled by algorithmic systems and metastatic growth. The title is a riff on the German scientific term umwelt (environment), referring to the idea that every species perceives the world according to its distinct physical characteristics. The extra “U” complicates this idea, proposing an unstable environment in which the boundaries between human and machine cognition begin to dissolve, producing what Huyghe calls “a collective production of imagination between two kinds of intelligences.” Art becomes an open-ended ecosystem that invites new encounters and exchanges between people, biological systems, and machines.

Exhibition. Through Jan 2, 2027. During the unprecedented period of liberation and decolonization across Africa, many dreamed of a continent with a boundless future. Ghana gained independence from British rule in 1957, and in 1960—often called the Year of Africa—17 nations struggling for self-determination achieved political autonomy. This upheaval ushered in a boom in cultural production and experimentation in visual art, dance, and music. Architects of Liberation: Modernism in Western Africa is the first major museum exhibition to examine the role of architecture in shaping this historic change. Newly independent African countries wanted to project—both inward and outward—a forward-looking, progressive, and cosmopolitan self-image, and modern architecture embodied this aspiration. A new architectural identity engaged with the political ideas of Pan-Africanism and Africanization, and was shaped by architects both from the continent and abroad. Architectural drawings, models, and archival images, as well as newly commissioned site-specific photographs and videos, are among the exhibition’s 400 objects. Nearly all are being shown publicly for the first time. Spanning Senegal, Côte d’Ivoire, Ghana, Togo, Benin, Nigeria, and Cameroon, Architects of Liberation is a revealing look at a region reimagining its future.

Modernity and Opulence: Women of the Wiener Werkstätte sheds new light on the role that Jewish women played as artists, designers, patrons, and tastemakers shaping modernist aesthetics in early 20 th -century Vienna and beyond. With more than 200 objects by some 30 Jewish women artists on view, the exhibition is organized thematically to reveal the extraordinary range and technical prowess of the women of the Wiener Werkstätte across mediums. A special emphasis is placed on Vally Wieselthier and Felice Rix-Ueno, whose prolific work, in ceramics and textile design respectively, has had lasting influence on these disciplines. The exhibition also provides a meaningful reintroduction to the work of artists whose work is less well-known today, and a platform for exploring their impact in the context of art and design histories.

In honor of the 100th anniversary of the founding of Val-Kill, this exhibition celebrates the trailblazing workshop, led by women and shaped by immigrant and rural craftspeople.

Uncover the overlooked essence of decorative arts in China.

This exhibition explores the growing interest in jade throughout the 20th century

Artist and poet Precious Okoyomon (Nigerian-American, b. 1993) transforms the MoMA PS1 courtyard into a living forest of plants, interactive sculpture, and sound in our inaugural Courtyard Commission. Among the Flowers I Learned to Love: A Garden of Decreation is Okoyomon’s largest outdoor installation to date and cultivates a world of grasses, flowers, weeds, sedges, pollinators, and vines. This ever-growing woodland brings together species often perceived in opposition, but which in reality co-exist: native and invasive plants, annuals and perennials, cultivated and wild growth. In the center of the garden, visitors can enter, climb through, and emerge from an oversized teddy bear sculpture. A sound piece brings whimsical instrumentation inspired by flowers into the courtyard, with poetry read by the artist playing inside of the bear. Anticipating the landscapes of the near future, and considering the unpredictability of climate changes, Okoyomon creates a garden for the city, in which softness, rest, and rebirth are essential. The Courtyard Commission is a site-specific, biannual program that invites artists to create new large-scale work, imagining how experimental art can transform outdoor space.

Exhibition. Aug 1, 2026–Summer 2027. Since the birth of motion pictures, animation has enchanted audiences. At MoMA, its creative evolution has been celebrated by more than a hundred programs and acquisitions from both independent filmmakers and major studios alike. Drawing from this history and spanning more than 100 years of expression and aesthetics, It’s Alive! shares the work of more than 35 artists and filmmakers who advanced the medium. The exhibition highlights its roots in New York and how the city remained a hub for innovative animation. Felix the Cat, Koko the Clown, Gertie the Dinosaur, and other enduring cartoon icons of the silent era (1890s–1920s) prove how significant character-based animation was to establishing the medium. The hand-drawn practices of their creators—including Otto Messmer, Dave Fleischer, and Winsor McCay—were fundamental to the characters’ appeal. Works from later decades by artists such as Isadore Sparber, Mary Beams, Kathy Rose, Tissa David, and David Ehrlich demonstrate that black-and-white line drawing remained a vital style through the predigital period. The addition of color in the 1930s, and the modernization of animation design led by John Hubley in the 1950s as a response to the classical style of Disney, influenced a number of independent artists in later decades. Jane Aaron, John Canemaker, Faith and Emily Hubley, George Griffin, Candy Kugel, Jeff Scher, and Michael Sporn all called New York home. Balancing projects for Public Television and MTV with personal filmmaking, these animators created bodies of work that became a force in pop culture and resonated worldwide. It’s Alive! is a testament to a rich period of the city’s movie-making history, and to the diversity and delights of animation.

Rediscovering Della Robbia at The Met itself results from a collaborative exchange among curators, conservators, and digital specialists.

This exhibition highlights modernist and avant-garde artist publications and collaborations created in the country of Georgia between 1917 and 1928.

Installation. Sep 3, 2026—Spring 2027. For decades, the multidisciplinary artist and activist Yoko Ono has created works that invite audiences to think about peace. In 1969, in response to the Vietnam War, Ono and John Lennon launched the campaign WAR IS OVER! (if you want it). In subsequent decades, Ono has spread this message as well as others—including “Imagine Peace”—via a multitude of formats, from billboards and advertisements to postcards, clothing, and online platforms. In Ono’s words, “Imagining is something that we can all do, even when we have different opinions about how to get there.” This installation extends the artist’s sustained history of collaborations with the Museum, which include PEACE is POWER, a 2019 commission that similarly expressed her peace activism. The current installation coincides with a related work titled THINK PEACE, ACT PEACE, SPREAD PEACE, IMAGINE PEACE, presented by the Museum at John F. Kennedy International Airport’s Terminal 6, where it opens in fall 2026.

The first U.S. exhibition on the Savonnerie, A King’s Carpet explores The Met’s three carpets from this ambitious royal project.

Artists Against the Bomb (AATB), an international artistic campaign advocating for universal nuclear disarmament, will present an exhibition in Homeroom. Rooted in an urgent belief that meaningful change arises through collective action and public refusal, AATB’s calls to action span posters, design, film, photography, literature, music, sculpture, and ephemera in support of the Treaty on the Prohibition of Nuclear Weapons (TPNW), which has been endorsed by a growing number of countries. Organized by Estudio Pedro Reyes and the International Campaign to Abolish Nuclear Weapons (ICAN), recipient of the 2017 Nobel Peace Prize for developing the TPNW, the presentation in Homeroom will highlight worldwide contributions by artists with ties to MoMA PS1—including Regina José Galindo, Nani Chacón, Carlos Amorales, Frieda Toranzo Jaeger, Art & Language, and Laura Anderson Barbata—alongside newly commissioned works.

In Free F’All , artist Michael Richards (American, 1963–2001) presents a pilot with his eyes closed, wearing an aviator’s flight cap, goggles, and a parachute backpack. His arms and torso are pierced with dozens of nails. The sculpture commemorates the Tuskegee Airmen, the US Air Force’s first Black unit. Formed in 1941, when the armed forces were segregated, the Airmen fought in World War II for a country that denigrated them. Despite the unit’s brave service and excellent combat record, its very existence reflected the racist belief that Black people were inferior to white Americans. Free F’All represents the complex experiences of Black servicemembers, honoring their valor and sacrifice in the face of discrimination. The piece also speaks to Richards’s knowledge of art history. The nails reference Kongolese nkisi nkondi , powerful wooden figures that serve as community guardians. Driving a nail into a nkisi activates the figure and calls it forth to help. The nails also recall Western images of the Christian martyr Saint Sebastian, killed with arrows shot by his fellow Roman soldiers. Richards’s pilot may be experiencing violence, protection, or both. Richards lost his life on September 11, 2001, while working at his studio in the World Trade Center’s North Tower. Twenty-five years later, Free F’All serves as an unintended memorial to the artist and a tribute to the Tuskegee Airmen, who came together 85 years ago. Museum Spotlights are intimate installations of noteworthy collection works, recent acquisitions, and loans, presented to encourage deeper conversations about art, history, and justice.

Sublime symbols of changing weather, clouds have long been a source of fascination for artists and scientists alike.

Exhibition. Sep 15–Oct 11, 2026. What is dance? Across a career spanning 30 years, Sarah Michelson has tirelessly explored this question. Born in Manchester, England, and based in New York, since the 1990s Michelson has created performances that examine the historical, physical, and intellectual nature of dance. Known for her meticulous choreography, Michelson continuously reimagines the boundaries of contemporary performance; her recent work has incorporated painting, video projection, and sound. “The place where the work will happen is pretty much always my starting point,” says Michelson, who began creating nowhere during a Studio Residency at MoMA in 2024. In this exhibition, she performs alongside a rotating cast of dancers. Treating the Donald and Catherine Marron Family Atrium as her daily workspace, Michelson integrates her dancing, thinking, and being into the life of the Museum. nowhere is a daily dance. It will be on view in the Marron Family Atrium Saturday through Thursday throughout the course of the exhibition.

Objects on view in J. Pierpont Morgan’s library reflect the past, present, and future of the collections in four curatorial departments, comprising illuminated manuscripts from the medieval and Renaissance eras, five hundred years of printed books, literary manuscripts and correspondence, as well as printed music and autograph manuscripts by composers.

Beijing-based artist Liu Wei (born 1972) will inspire visitors to ponder cycles of rupture and resistance for The Genesis Facade Commission in 2026

Experience an interactive installation by Taryn Simon featuring never-before-seen photographs, text, video, and sculpture.