If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), ...

In 2018–19, MoMA collaborated with Google Arts & Culture Lab on a project using machine learning to identify artworks in installation photos. That project has concluded, and works are now being ...

MARINA ABRAMOVIĆ: House With Ocean View was for me an experiment. When I came to New York, it was just after September 11, and I found New York so much changed. I found New York and people living here ...

If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), ...

If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), ...

Luis Pérez-Oramas: En los años 30, Reverón dejó de pintar paisajes y enfocó su atención hacia una serie de obras figurativas de amplio formato, en las que representó desnudos femeninos reclinados en ...

If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), ...

If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), ...

MARINA ABRAMOVIĆ: In The Artist is Present, I perform every day for three months. The performance is really about presence. You have to be in the here and now, 100 percent. GLENN LOWRY: Marina ...

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GLENN LOWRY: By the 1970s, performance art had achieved a level of notoriety and even acceptance. However, because many artists used their bodies aggressively in their performances, it was often ...

One morning in the summer of 1952, Matisse told his studio assistant and secretary Lydia Delectorskaya that “he wanted to see divers,” so they set out to a favorite pool in Cannes. Suffering under the ...