黑料不打烊

The Modern begins its twentieth year in its Tadao Ando-designed galleries with a permanent collection installation focused on works acquired since the building鈥檚 opening. Both floors showcase paintings, photographs, sculptures, and videos by artists from a wide range of cultures and geographies.

The first floor explores new directions in abstraction, conceptualism, pop, and minimalism over the past two decades. Works embracing theories of the lens, cinema, semiotics, and psychology open the installation. Takashi Murakami and Andy Warhol dominate the dialogue around pop art, with contributions by Eddie Martinez and Ed Ruscha. Jack Goldstein鈥檚 monumental Untitled, 1979, anchors a series of works with spare, mostly black or white palettes, including photographs by Orit Raff, drawings and a sculpture by Banks Violette, and sculptures by Justin Adian and Robert Smithson. The last permanent collection gallery on the first floor holds earthy compositions by Susan Rothenberg, Nancy Graves, and Linda Ridgway.

On the second floor, portraits and landscapes, both figurative and abstract, join videos, bold color studies, and works on paper. Kamrooz Aram, Dan Christensen, Thornton Dial, and Lucy Dodd invite viewers to consider nature in the abstract. Humor and pathos, as well as incisive observations about who gets seen and how, appear in portraits by Jammie Holmes, Alex Katz, Shirin Neshat, Philip Pearlstein, Vincent Valdez, and Kehinde Wiley. Landscapes that evoke imagination and emotion are featured in photographs by Thomas Demand and Wolfgang Tillmans, videos by Yoshua Ok贸n and Melanie Smith, and in Teresita Fern谩ndez鈥檚 Epic 2, 2009. Paintings and sculptures that reflect on the formal and allegorical uses of animals, including paintings by Melissa Miller and Richard Thompson and sculpture by Daisy Youngblood, run the length of the museum鈥檚 west side. In the east galleries, works by Marina Adams, Frank Stella, and Stanley Whitney demonstrate ongoing investigations into the power of color and geometry.

The exhibition includes several major acquisitions made in recognition of the building鈥檚 tenth anniversary in 2012: Mark Bradford鈥檚 Kingdom Day, 2010, Vernon Fisher鈥檚 The Coriolis Effect, 1987, Dan Flavin鈥檚 untitled (for you Leo, in long respect and affection) 4, 1978, Jenny Holzer鈥檚 Kind of Blue, 2012, Sol LeWitt鈥檚 Wall Drawing #50A, 1970, and Robyn O鈥橬eil鈥檚 These final hours embrace at last; this is our ending, this is our past., 2007; as well as one of the most popular works acquired since the building opened, Martin Puryear鈥檚 Ladder for Booker T. Washington, 1996. Another perennial favorite, the complete set of Nicholas Nixon鈥檚 series The Brown Sisters, with forty-five photographs taken annually from 1975 through 2020, is on view for the first time in four years. In addition, a selection of acquisitions sponsored by the Director鈥檚 Council represents the group鈥檚 important contributions to the collection. Wangechi Mutu鈥檚 The Seated III, 2019, overlooks the pond, where KAWS鈥檚 CLEAN SLATE, 2018, recently joined Roxy Paine鈥檚 Conjoined, 2007