The exhibition explores the material expressions of devotion, memory, and sacred space in Jewish and Christian communities of medieval and early modern Central Europe, highlighting moments of artistic cross-fertilization, shared iconography, and theological divergence. Specially designed and organized for the Jewish Museum’s galleries, Sacred Splendor: Jewish Ritual Art and Christian Treasures from St. Vitus Cathedral in Prague features extraordinary reliquaries from the treasury of St. Vitus Cathedral in Prague—most never exhibited in the United States. Bejeweled and sacred vessels of veneration, medieval reliquaries are at once works of art from their time and place of production as well as physical containers of remarkable beauty. They are presented in dialogue with objects from the Museum’s own holdings, as well as important loans from public collections across Europe and the United States, including Torah ornaments, liturgical textiles, illuminated manuscripts, ceremonial vessels, and rare medieval Jewish hoards that were hidden underground during the Black Death of the late 1340s when Jews endured violence and uprooting. Works by four contemporary artists address related themes in the present day.

This presentation is a part of Artists Respond to Sacred Splendor: Jewish Ritual Art and Christian Treasures from St. Vitus Cathedral in Prague In the sculptural installation Sounding Shell , Afruz Amighi assembles a cast of mythological characters drawn from religions and cultures around the world. The Mexica goddess Coyolxāuhqui is a key figure: decapitated by her brother, according to myth, her severed head became the moon. Amighi’s sculptures draw on this story of destruction as a wellspring of transformation and possibility. Eyes, teeth, breasts, and claws—all carved in luminous alabaster—rest on the floor, as if the steel-framed sculptures that surround them were bodies in various states of disintegration. Reliquaries on view in the exhibition Sacred Splendor , on the museum’s second floor, likewise hold sacred fragments, asserting that something broken can possess the same spiritual power as something whole. The title Sounding Shell refers to the low roar heard while holding a curved shell to one’s ear, a blend of sounds from the environment and those of the body. The heartbeat heard throughout the space underscores this sense of interconnectedness, causing objects and bodies to vibrate in unison. Afruz Amighi: Sounding Shell and Hannah Altman: Not a Circle but a Spiral are two focused installations located on Floor 3 within Identity, Culture, and Continuity: Stories from the Collection of the Jewish Museum . Two additional contemporary works by Edmund de Waal are on view in Sacred Splendor: Jewish Ritual Art and Christian Treasures from St. Vitus Cathedral in Prague on Floor 2.

This presentation is a part of Artists Respond to Sacred Splendor: Jewish Ritual Art and Christian Treasures from St. Vitus Cathedral in Prague Engaging with myth, performance, and memory—often through the lens of Jewish ritual and folklore—Hannah Altman’s photographs use everyday objects and scenery to conjure unexpectedly charged atmospheres. Hannah Altman: Not a Circle but a Spiral presents a selection of Altman’s photographs—including several new works commissioned for this exhibition—alongside Christian treasures from St. Vitus Cathedral in Prague and Jewish ceremonial art from the collection of the Jewish Museum, expanding on, in Altman’s words, an “ongoing dialogue about inheritance, ritual, and reinvention.” Hannah Altman: Not a Circle but a Spiral and Afruz Amighi: Sounding Shell are two focused installations located on Floor 3 within Identity, Culture, and Continuity: Stories from the Collection of the Jewish Museum . Two additional contemporary works by Edmund de Waal are on view in Sacred Splendor: Jewish Ritual Art and Christian Treasures from St. Vitus Cathedral in Prague on Floor 2.

Installation. Sep 19–Nov 15, 2026. In the Making is a free six-week studio art program that invites young people to explore big ideas through art-making, conversations, and meetings with arts professionals. This summer’s participants explored one of four themes: Constructing Reality Through Images, Shelter, Forms of Nature, and Layers! Experimental Mark Making. The annual program encourages participants to develop their own artistic voices and discover how materials can communicate meaning. In addition to taking inspiration from MoMA’s collection, participants visited galleries, museums, and artists’ studios and connected with MoMA educators and museum professionals across New York City’s creative landscape. This exhibition celebrates the culmination of their exploration, featuring collaborative and individual works that respond to, expand upon, and challenge the questions at the heart of each theme. Email questions to momateens@moma.org or fill out our contact form. Accessibility The Lewis B. and Dorothy Cullman Education and Research Building entrance has a power-assist door. Seating options include chairs with backs. Gallery stools, wheelchairs, and rollators are available by request at all Museum entrances on a first-come, first-served basis. Accessible and all-gender restrooms are located in the mezzanine level of the Lewis B. and Dorothy Cullman Education and Research Building. Guide dogs and other trained service animals are always welcome.

Installation. Through Nov 15. As part of her Adobe Creative Residency at MoMA, artist Lizania Cruz presents Ecologies of Care, an interactive kiosk at Socrates Sculpture Park that investigates the interdependent relationships among people, wildlife, and the built environment in the Sculpture Park. Throughout the project, park visitors are invited to contribute to a collective map, creating a living archive of the many connections they encounter. A series of pamphlets will guide visitors along themes of nature, climate resilience, and community care through the lens of ecological relationships: between monarch butterflies and milkweed, the shoreline and water, and the park and nearby residents. Lizania Cruz is a Dominican participatory artist and designer who confronts systemic issues embedded in the public sphere by investigating notions of belonging and otherness. These inquiries have led her to study the formations of language, mythmaking, and documented histories. Through research, oral history, and audience engagement, she develops projects that expand and share pluralistic narratives on migration and place. Socrates Sculpture Park is a community-engaged New York City waterfront park in Long Island City, Queens, dedicated to supporting artists in the production and presentation of public art. Socrates was an abandoned riverside landfill and illegal dump site for decades leading up to 1986, when a coalition of artists and community members, under the leadership of artist Mark di Suvero, transformed it into an open studio and exhibition space for artists.

Exhibition. Through May 2, 2027. In 1972, the West German artist Marianne Wex began a visual survey of gendered body language. She picked up her camera and covertly photographed people in her hometown of Hamburg, observing how men and women were socialized to inhabit space differently. She also rephotographed pictures from advertisements, newspapers, magazines, film, television, and art catalogues, pasting the images onto boards organized into categories like “standing arms,” “sitting legs,” “lying down,” and “possessive holds.” For Wex, “these mostly unconscious actions” were “essential parts of our communication.” Presenting a robust selection, the exhibition also brings Wex’s watershed feminist project into dialogue with contemporary artists Nona Faustine, Martine Gutierrez, K8 Hardy, Yuki Kihara, Joiri Minaya, Paulina Olowska, and Wendy Red Star. These contemporary practitioners reappraise the relationship of bodies to public space from Black, queer, and 21st-century feminist perspectives. In this context, the notion of “taking back space” resonates as a reclamation of physical territory, historical narratives, and the ability to represent oneself.

In the fall of 2026, MoMA PS1 and The Museum of Modern Art will present the first US large-scale exhibition of Teresa Margolles (Mexican, b. 1963), featuring several room-sized installations and a new commission. Trained as a forensic pathologist and a photographer, Margolles has created work that examines the implications of transnational violence, with particular attention to the US-Mexico border. Across mediums, her works trace disappearances, femicides, political displacements, and societal neglect through methodical research, site-responsive interventions, and a radical rethinking of the memorial. The exhibition’s centerpiece is La promesa (2012), a monumental barrier made from tons of rubble that the artist disassembled from a home abandoned by a family, in Ciudad Juárez. Margolles’s artworks bring pressing systemic issues into public view, materializing the ways violence permeates everyday life with feelings of loss. A concurrent presentation at The Museum of Modern Art is on view beginning September 17, 2026, titled Aproximación al lugar de los hechos (Approaching the Scene) .

I Am Tony is the first US museum survey exhibition of the work of Arthur Jafa (b. 1960, Tupelo, MS) to encapsulate the full breadth of his practice.

Multidisciplinary artist David Hartt (Canadian, born 1967) transforms John Vanderlyn's 19th-century painting Panoramic View of the Palace and Gardens of Versailles into a site-specific installation, offering viewers the opportunity to explore questions of place and perspective.

Exhibition. Sep 27, 2026–Jun 13, 2027. We swim in an ocean of data. Every click, weather pattern, border crossing, and blood test is tracked and fed into systems that increasingly inform our daily behaviors. Data, however, is not knowledge. Before it can be put to use, it must first be translated—through design. Full Disclosure explores how contemporary designers act as essential interpreters of this cultural revolution, transforming raw data into visual stories we can understand and use. While the practice of mapping information is as ancient as abstract thought—stretching back to cosmological charts and cave drawings—computer logic, algorithms, machine learning, and artificial intelligence have upended the field of data visualization. Today’s practitioners create dynamic networks and animated narratives, expanding far beyond traditional charts and graphs. At a time when public confidence in big data and institutions has frayed, data visualization deals in trust as much as in truth, rendering design choices and sources ever more vital. Full Disclosure showcases an array of projects, both digital and analog, that encourage close looking and critical examination. Visitors will discover how contemporary information designers distill data to give form to invisible systems, expose hidden structures of power, preserve histories, and capture the intimate nuances of human experience.

More details are available on the museum's website. We recommend checking the official event page for the full description, ticketing details, age guidance, and registration requirements before you go.

Conceived by Si Lewen (1918–2016) in the aftermath of World War II, The Parade is informed by the artist's extraordinary life.

Kachina dolls ( tithu ) represent Katsinam, spirits who bring much-needed moisture and keep the world in balance for the Hopi, an Indigenous tribe in arid northeastern Arizona. Carved from cottonwood and distinctively painted, the dolls are treasured gifts from the Katsinam, given exclusively to Hopi girls and women. This exhibition is the first to examine the Hopi kachina doll tradition from their recipients’ perspective. The Brooklyn Museum’s Center for Feminist Art is a natural home for this unprecedented presentation foregrounding Hopi women’s experiences, knowledge, and creative expression. Fifty-three dolls, drawn from the Museum’s far-reaching Indigenous art collection, are among more than 120 works on view. These tithu illustrate key phases of a Hopi woman’s life—from infancy, when a baby girl first receives a simple flat doll, to adulthood, when tithu become more complex and women honor their important relationships to the Katsinam through prayer and participation in social dances. The exhibition also celebrates Hopi women’s creativity and resilience, showing how they have long sustained their society by producing Katsinam-inspired artwork for community members, tourists, and collectors alike. Exquisitely crafted baskets, jewelry, and ceramics illuminate the deep history and ongoing story of Hopi women’s artistry. Hear directly from featured artists through new video interviews, in which these women share their dedication to Hopi culture. A fully illustrated catalogue accompanies Hopi Kachina Dolls: Blessings for a Balanced World . Featuring contributions by Colleen Lucero (Hopi), Nancy Rosoff, Dare Turner (Yurok Tribe), Kelley Hays-Gilpin, and Diane Dittemore, as well as interviews with Hopi artists and cultural leaders, the book showcases kachina dolls’ enduring significance within Hopi society and art history at large.

Discover more than 50 modern European masterpieces—representing one of the most important gifts of European art in the Brooklyn Museum’s history—and meet the remarkable collectors who brought them together. Featuring paintings, sculptures, and works on paper by the title artists along with Edgar Degas, Paul Gauguin, Henri de Toulouse-Lautrec, and Chaïm Soutine, Cézanne to Modigliani celebrates the transformative gift of the renowned Henry and Rose Pearlman Collection to the Brooklyn Museum, LACMA, and MoMA. While showcasing these exemplary artworks, which disrupted centuries of academic traditions, the exhibition introduces their collectors, whose history is a quintessential American and Brooklyn story. Thematic vignettes, exploring topics from immigration and assimilation to place and perception, offer insights into both the Pearlmans themselves and the artists they supported and befriended. Reflecting the collectors’ lifelong commitment to sharing their holdings, Cézanne to Modigliani honors the couple’s belief in art’s power to create meaningful connections.

Ignite your imagination with hands-on, play-filled learning in our Education Gallery exhibitions. Wander into a dreamlike, color-filled universe where you can touch, see, and feel the flow(ers). One of Japan’s most celebrated contemporary photographers, Mika Ninagawa (born 1972) creates portals to otherworldly realms. Her vivid, psychedelic photographs captured the public’s imagination in the 1990s. Now, she takes over the Brooklyn Museum’s Education Gallery for her first immersive installation in the United States. Visitors of all ages are invited to delight in this sensory and spiritual experience, which will be enhanced with performances, art-making, and other activations. Complementing Art of Manga , the installation envelops the gallery in saturated hues—a nod to the hypercolorful manga and anime pop cultures that have inspired Ninagawa since her childhood in Tokyo. Mesmerizing images of flowers cover the walls and touchable photographic prints invite interaction. Settle into a comfortable seat to soak in the beauty of this environment, finding renewed appreciation for the magic of the world.

Journey through centuries of Japanese storytelling to discover the roots of modern manga. Offering historical context for the more than 600 drawings in Art of Manga , this Spotlight installation traces traditions and techniques that shaped the contemporary art form. Twenty-one works from the Brooklyn Museum collection reveal how Japanese artists have used line and form to convey emotion, power, and even sound and motion for more than 900 years. Manga Before Manga celebrates the richness of Japanese narrative imagery, populated by brave heroes, star-crossed lovers, and supernatural beings from literature and legend. Look out for themes and characters that still appear in manga today. You’ll also encounter a 15th-century handscroll featuring graphic devices that foreshadow today’s speech bubbles for dialogue. Find out when the word manga first appeared in the titles of illustrated books, and see a famed example by Katsushika Hokusai. From hand-painted scrolls to glazed porcelain, the works on view show the many ways Japanese artists have told stories through images—and the lasting influence of those approaches on the comics and graphic novels beloved around the world. Museum Spotlights are intimate installations of noteworthy collection works, recent acquisitions, and loans, presented to encourage deeper conversations about art, history, and justice.

Be drawn into the world of manga. Art of Manga is the first major exhibition in the Americas to explore manga—Japanese comics and graphic novels—as an art form. Marking its East Coast debut, the Brooklyn Museum’s presentation is packed with more than 600 drawings that showcase manga’s immersive power and social impact. Don’t miss this rare opportunity for US audiences to encounter an astonishing selection of original manga artworks, including examples from beloved series Inuyasha , JoJo’s Bizarre Adventure , Ōoku: The Inner Chambers , ONE PIECE , and many more. A global phenomenon, manga is driven by those who design, draw, and very often author the stories that define the medium. Discover influential manga artists, or mangaka , and their distinct approaches to storytelling. Through compelling narratives and captivating imagery, each mangaka ’s work invents a universe that may be familiar or supernatural, historical or futuristic, contemplative or action-packed. These tales address universal themes such as coming of age, tapping into hidden strengths, and finding beauty in the ordinary—as well as contemporary issues such as environmentalism, gender roles, LGBTQ+ rights, and socioeconomic inequality. Whether you enter as an otaku or a novice, you’ll leave Art of Manga fluent in this vital medium.

Exhibition. Oct 4, 2026–Jan 23, 2027. A book bound with shards of shattered glass. A manifesto enshrined in polished metal. Love poems seamlessly merging with solarized photographs. For artists and writers of the Surrealist movement, the book was a perfect vehicle for subversive experimentation and the promotion of Surrealism’s revolutionary tenets. Working collaboratively to unlock the unconscious, they transformed the bound volume into a provocative new art form, an enchanted portal to the unexpected, the irrational, and the marvelous. The Surrealist Book features the work of Surrealism’s most fascinating figures, including André Breton, Salvador Dalí, Claude Cahun, Paul Éluard, Toyen, Max Ernst, and Unica Zürn. It traces the myriad roles of Surrealist books from their foundational impact in the 1920s, through their convention-defying influence in the 1930s and ’40s, to the persistent presence of a Surrealist sensibility in volumes produced well into the 1950s and ’60s. The exhibition showcases a transformative gift of rare artists’ books from the Helen and Sam Zell Collection, presented for the first time at MoMA. This trove of exquisite objects includes special editions printed on unusual papers or enhanced with supplementary materials, unique maquettes and singular sketchbooks filled with collages and fantastical drawings, sculptural bindings that turn books into hybrid, interactive artworks, and much more. Whether sparking disquiet or delight, books, the Surrealists insisted, “are doors.” Whoever “opens them is immediately thrown into a higher realm.”

Krasner and Pollock: Past Continuous is the first major New York presentation devoted to either artist in more than 20 years.

Exhibition. Oct 12, 2026–Mar 14, 2027. Have you ever wondered what once existed under the streets where we stand? Many modern cities were built on top of wetlands. If we look close enough, traces of those lost ecosystems remain. In Berl-Berl, Jakob Kudsk Steensen reimagines Berlin’s forgotten wetlands as a singing, digital swamp. Part of an ongoing body of work, the work takes its title from the Slavic word for “swamp,” the origin of Berlin’s name. It combines ecological research and local folklore and songs—once used as a way of mapping this terrain and documenting its stories—to bring forth a new kind of landscape. Berl-Berl emerged through collaborations with the Museum für Naturkunde Berlin and the musician Arca, rooted in months of fieldwork in Berlin’s remaining wetlands, archival research into Sorbian and Slavic mythology, and studying linguistic history. Steensen introduced a collection of specimens of local rocks, flora, and fauna into the work’s visual and acoustic worlds, while transforming field recordings of swamps into rhythm and song. Translating a living environment into the digital realm, Kudsk Steensen invites visitors to imagine new forms of encounter between human and more-than-human spheres. The work draws on memory, feeling, and imagination to reshape how we relate to the natural world. As the artist has said, “Technology for me, in the sense of being a medium, is a connector.” Built using macro photogrammetry, 3D scanning, and game engine technology, the work unfolds as an ever-changing landscape—an archive of a vanishing world and a speculation about the one still to come.