Whitney Museum of American Art
Installation view of Making Knowing: Craft in Art, 1950–2019

RECONNECT WITH ART SAFELY IN OUR GALLERIES

We know how much you’ve missed being at the Whitney, and we’re thrilled to welcome you back when we reopen to the public on September 3.

What will you be able to see during your next visit?

We’ve been working hard to extend all of the exhibitions that were on view when we closed in March, giving you more opportunities to visit (or revisit!) each extraordinary show. From politically charged paintings by the Mexican muralists and Cauleen Smith’s video meditations on Black feminist and spiritual histories to longtime favorites from the Whitney’s collection, the works on view in these acclaimed exhibitions eagerly await your return to our galleries.

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Gordon Matta‑Clark, Day's End Pier 52.3

AROUND DAY’S END: DOWNTOWN NEW YORK, 1970–1986

Through October 25, 2020

Anticipating the completion in late fall 2020 of David Hammons’s Day’s End, this exhibition presents works by approximately fifteen artists—including Joan Jonas, Alvin Baltrop, Martin Wong, and Gordon Matta-Clark—that explore downtown Manhattan as site, history, and memory.

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Agnes Pelton, Untitled, 1931.

AGNES PELTON: DESERT TRANSCENDENTALIST

Extended through November 1, 2020

Discover the work of the visionary symbolist Agnes Pelton, whose luminous, abstract paintings portraying the world that lies behind physical appearances are only now being fully recognized for their important place in early American modernism.

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Alfredo Ramos Martínez, Calla Lily Vendor, 1929.

VIDA AMERICANA: MEXICAN MURALISTS REMAKE AMERICAN ART, 1925–1945

Extended through January 31, 2021

Experience the show that rewrites art history: With nearly 200 works by more than sixty artists, Vida Americana reveals the profound impact the Mexican muralists had on their counterparts in the U.S. and the ways in which their example inspired American artists to use their art to protest economic, social, and racial injustices.

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Cauleen Smith, still from Sojourner, 2018.

CAULEEN SMITH: MUTUALITIES

Extended through January 31, 2021

Take in Cauleen Smith’s first solo show in New York, which presents two of the artist’s films, Sojourner and Pilgrim—moving reflections on memory and Afro-diasporic histories that showcase Smith’s poetic use of the camera—along with a new group of drawings collectively titled Firespitters.

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Liza Lou, Kitchen, 1991–96.

MAKING KNOWING: CRAFT IN ART, 1950–2019

Through February 2022

Featuring more than eighty works by sixty artists, this exhibition looks closely at how visual artists have explored the materials, methods, and strategies of craft over the past seventy years, inviting viewers to expand their definitions of “fine art” and imagine how it might feel to make each work.

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Norman Lewis, American Totem, 1960.

THE WHITNEY’S COLLECTION: SELECTIONS FROM 1900 TO 1965

Through May 2022

Explore how the Whitney’s collection has evolved over the past ninety years—from a selection of works from the Museum’s founding collection to recent acquisitions that help us continually reframe the history of life and artistic production in the United States.

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Installation view of Making Knowing: Craft in Art, 1950–2019

WHAT TO EXPECT

From buying advance tickets to our new visitor guidelines and more, we’ve outlined everything you need to know to make your trip to the Whitney as safe as possible. All visitors enjoy Pay-What-You-Wish admission through September 28.

PLAN YOUR VISIT

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SUPPORT THE WHITNEY

Now more than ever, we are relying on the generosity of our supporters to help champion American art and artists. Please consider making a donation or becoming a member today.

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MAKE A DONATION
BECOME A MEMBER
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Whitney Museum of American Art
99 Gansevoort Street New York, NY 10014
whitney.org

      

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Image credits below.

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AAQ / Resource: Otis Ford, Since 1946, Quogue

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Image credits:Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–February 2022). Photograph by Ryan Lowry

Gordon Matta‑Clark, Day’s End Pier 52.3(Documentation of the action “Day’s End” made in 1975 in New York, United States), 1975 (printed 1977). Gelatin silver print: sheet, 8 × 10 in. (20.3 × 25.4 cm); image, 7 × 9 3/4 in. (17.8 × 24.8 cm). Whitney Museum of American Art, New York; gift of Harold Berg 2017.134. © Estate of Gordon Matta-Clark / Artists Rights Society (ARS), New York

Agnes Pelton, Untitled, 1931. Oil on canvas, 36 3/16 × 24 3/16 in. (91.9 × 61.4 cm). Whitney Museum of American Art, New York; purchase, with funds from the Modern Painting and Sculpture Committee 96.175

Alfredo Ramos Martínez, Calla Lily Vendor, 1929. Oil on canvas, 45 13/16 × 36 in. (116.3 × 91.4 cm). Private collection. © The Alfredo Ramos Martínez Research Project, reproduced by permission

Cauleen Smith, still from Sojourner, 2018. Video, color, sound, 22:41 min. Courtesy the artist, Corbett vs. Dempsey, Chicago, and Kate Werble Gallery, New York

Liza Lou, Kitchen, 1991–96. Beads, plaster, wood and found objects, 96 × 132 × 168 in. (243.8 × 335.3 × 426.7 cm). Whitney Museum of American Art, New York; gift of Peter Norton 2008.339a-x. © Liza Lou. Photograph by Tom Powel, courtesy the artist

Norman Lewis, American Totem, 1960. Oil on canvas, 73 1/2 × 44 7/8 in. (186.7 × 114 cm). Whitney Museum of American Art, New York; purchase with funds from the Laurie M. Tisch Illumination Fund in memory of Preston Robert and Joan Tisch, the Painting and Sculpture Committee, Director’s Discretionary Fund, Adolph Gottlieb, by exchange, and Sami and Hala Mnaymneh 2018.141. © Norman Lewis. Courtesy Michael Rosenfeld Gallery LLC, New York, NY

Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–February 2022)

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