Drawing in Latin America
January 29–April 21, 1998

Drawings from the collection, including works by muralists Diego Rivera and José Clemente Orozco, by Surrealists Matta and Wifredo Lam, and by Joaquín Torres-García, Tebo, and Pedro Figari

Fabrications
January 29–April 28, 1998

Twelve architectural installations, simultaneously constructed at MoMA, the San Francisco Museum of Modern Art, and the Wexner Center for the Arts.

Fernand Léger
February 15–May 12, 1998

A retrospective celebrating the achievement of French artist Fernand Léger (1881-1955), this exhibition comprises some eighty paintings and about forty selected drawings.

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Alvar Aalto: Between Humanism and Materialism
February 19–May 19, 1998

This exhibition, the first large-scale retrospective in the United States to present original drawings and models of Alvar Aalto's architecture, celebrates the one-hundredth anniversary of the birth of the renowned Finnish architect, town planner, and designer.

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Chuck Close
February 26–May 26, 1998

This exhibition presents the full spectrum of the career of American artist Chuck Close, a leading figure in contemporary art since the early 1970s, and includes some ninety paintings, drawings, and photographs.

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Artists and Subjects: Picasso to Stella February 26–May 26, 1998

Throughout the history of modern art, artists have chosen a variety of subjects as vehicles for expression. Some are traditional, such as the nudes of Henri Matisse or the self-portraits of Max Beckmann; others are narratives, like Pablo Picasso's depictions of an artist at work in his studio. This exhibition demonstrates the complexity surrounding the artistic notion of subject matter.

Rethinking the Modern: Three Proposals for The Museum of Modern Art
March 5–April 28, 1998

Models and drawings by Yoshio Taniguchi, chosen architect for the Museum's expansion, and by finalists Herzog & de Meuron and Bernard Tschumi.

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Maria Magdalena Campos-Pons: Spoken Softly with Mama
March 5–May 26, 1998

A new video installation, exploring ritual and cultural roots by the Cuban-born, Boston-based multimedia and performance artist.

The Clutter of Happenstance: Photographs by Robert Cumming
March 19–July 5, 1998

Challenging longstanding perceptions about photography's apparent relationship to the objective world, Cumming creates alternative and hypothetical "realities" using found and fabricated objects in staged scenarios. Drawn principally from the collection of The Museum of Modern Art, this exhibition also includes loans from the Museum of Fine Arts, Houston; the San Francisco Museum of Modern Art; the Art Institute of Chicago; and private collectors.

Elements of the Natural: 1950-1992
May 7–September 8, 1998

Drawn from the Museum's collection, this exhibition demonstrates the profound and continuing connection between nature and the modern and contemporary artists. It focuses first on the 1950s, when many artists, such as Helen Frankenthaler and Tony Smith, returned to nature for inspiration; continues with the work of Jean Dubuffet and Agnes Martin; and ends with the 1990s work of Anish Kapoor and John Cage.

Projects 63: Karin Davie, Udomsak Krisanamis, Bruce Pearson, Fred Tomaselli
May 14–June 30, 1998

This exhibition explores visual seduction in the work of four New York-based artists who employ a vibrating vocabulary reminiscent of 1960s Op art. Unlike works that rely solely on optical effects, these hyperactive, seemingly pure abstractions are infused with reference to the body, pop culture, mass media, and language.

At Home in the City: Children Celebrate NYC's 100th Birthday
May 18–June 9, 1998

Presents approximately forty works created by New York City public elementary school children participating in the New York-based Studio in a School program.

New Concepts in Printmaking 2: Willie Cole
June 9–October 13, 1998

Sculptor Willie Cole has been pre-occupied with the steam iron as a domestic, artistic, and symbolic object for over a decade. Using heat as a kind of ink and an iron as a stamping device, he creates elaborate compositions out of repeated printed forms.

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Giacometti to Judd: Prints by Sculptors
June 9–October 13, 1998

This exhibition, meant to provide a context for the adjacent installation New Concepts in Printmaking 2: Willie Cole, focuses on prints made by artists who are best known as sculptors. Includes works by such artists as Hans Arp, Louise Bourgeois, Henry Moore, Claes Oldenburg, Martin Puryear, and Richard Serra.

Bonnard
June 21–October 13, 1998

Pierre Bonnard (1867-1947) has come to be regarded as a colorist of extraordinary originality, and one who reshaped pictorial space as a vehicle for psychologically complex emotional states. This tightly focused exhibition of some ninety works concentrates on his interiors, still lifes, and figure paintings, including his self-portraits.

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Aleksandr Rodchenko
June 25–October 6, 1998

This is the first comprehensive U.S. retrospective of the work of Alexander Rodchenko (1891-1956), one of the leading Russian artists of the revolutionary period. A prominent theoretician and teacher in Constructivist circles, Rodchenko responded with great versatility to the challenge of creating a new art for the new society envisioned by the Bolshevik Revolution.

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New Video Acquisitions: Four Voices
June 25–September 20, 1998

Recent video acquisitions includes works by four of video art's distinctive voices: Juan Downey (Chile/USA), Péter Forgács (Hungary), Mako Idemitsu (Japan), and Ed Emshwiller (USA). Spanning the period from 1972 to 1992, the works cover a range of topics from the philosophy of Ludwig Wittenstein to the role of women in Japanese society and the making of art.

Tony Smith
July 2–September 22, 1998

Tony Smith (1912-1980) was a unique figure in the American artistic vanguard of the postwar era. Trained as an architect in the studios of Frank Lloyd Wright and the New Bauhaus in Chicago, Smith turned to painting and drawing from the mid-1940s through the 1950s. In 1961, he began to develop studio prototypes of the strict but often complex geometric structures that became the basis of his renowned monumental sculpture.

Love Forever: Yayoi Kusama 1958-1968
July 9–October 6, 1998

This exhibition presents the painting, drawing, collage, sculpture, and installation work produced by Yayoi Kusama (b. 1929, Nagano, Japan) in New York during her most influential years, from 1958 to the late 1960s. Combining elements of Minimalism and the emergent Pop aesthetic, Kusama created a body of work that made a significant contribution to the newly internationalized art scene.

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David Goldblatt: Photographs from South Africa
July 16–October 6, 1998

From the 1960s until the end of apartheid in 1990, David Goldblatt photographed South Africa's architecture, the structures of both its indigenous people and those who colonized the country. The range of Goldblatt's knowledge of the place is wide, and his photographs describe many aspects of the culture. The exhibition provides an original entrée into the photograph as a means of social criticism.

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More Pieces for the Puzzle: Recent Additions to the Collection
July 21–September 8, 1998

This rotating exhibition features new acquisitions from the Museum's various curatorial departments, focusing on correspondences and contrasts among the works.

The New York School
September 17, 1998–January 12, 1999

Presents drawings from the Museum's collection by artists affiliated with the New York School. Includes works by Helen Frankenthaler, Arshile Gorky, Adolph Gottlieb, Philip Guston, Willem de Kooning, Lee Krasner, Robert Motherwell, Barnett Newman, and David Smith.

UFA Film Posters, 1918-1943
September 17, 1998–January 5, 1999

Features approximately fifty posters for films produced or distributed by Universumfilm Aktien Gesellschaft (Ufa), the German film studio founded in 1918.

Projects 64: Diana Thater
September 24–November 10, 1998

The Best Animals Are the Flat Animals, Diana Thater's visually captivating new video installation where zebras pose as a screen for our projections, where a glance at nature refracts into a multitude of insights.

New Photography 14: Jeanne Dunning, Olafur Eliasson, Rachel Harrison, Sam Taylor-Wood
October 15, 1998–January 12, 1999

Significant new work in photography that reflects a growing concern with the way images are shaped by physical factors (such as scale) and by interaction with other media. As such it provides a vital gauge on some of photography's most current issues.

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Zhang Peili: Eating
October 28, 1998–February 2, 1999

Video sculpture consists of three stacked monitors showing different perspectives of the same activity. The top screen depicts a close-up of a masticating cheek; the bottom screen showcases various edibles artfully arranged on a plate; and the center screen follows the fork from the food into the cavity between the teeth.

Dubuffet to de Kooning: Expressionist Prints from Europe and America
October 29, 1998–February 2, 1999

Explores an expressionist mode of art that was widespread in the forties, fifties, and sixties. Includes works by Philip Guston, Willem de Kooning, Mark Rothko, Robert Motherwell, Jean Dubuffet, Hans Hartung, Asgar Jorn, and others.

Focus: Pollock and Printmaking
October 29, 1998–February 2, 1999

Jackson Pollock's prints from the Museum's collection. Shows a little-known aspect of the celebrated artist's work. Pollock's prints are exceedingly rare and the Museum's permanent collection houses the most important known group, including singular proofs that were never editioned, as well as the copper-plates on which the artist worked.

Jackson Pollock
October 28, 1998–February 2, 1999

The first retrospective in New York since the one mounted by MoMA in 1967. The exhibition provides a fresh chance for new generations of artists to come to terms with a legendary figure and enables the broader public to reassess a quintessentially American artist in light of three decades of new scholarship and speculation on his work and often tempestuous life.

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Projects 65: Maurizio Cattelan
November 6, 1998–December 4, 1999

In this project Cattelan focuses on the artist Pablo Picasso. By using his likeness in effigy Cattelan elevates Picasso to a position in European Carnivale celebrations most often reserved for world leaders. An actor in a Carnivale-type Picasso mask will greet visitors to the Museum during the run of the exhibition.

Structure and Surface: Contemporary Japanese Textiles
November 12, 1998–January 26, 1999

This exhibition highlights the imaginative fabrication methods, manipulation techniques, and surface finishes that are making an impact on textiles, interior design, and fashion around the world. Twenty-nine artists, textile designers, and fashion designers are represented by a selection of one hundred works.

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Miró's Black and Red Series: A New Acquisition in Context
November 19, 1998–February 2, 1999

Celebrates the acquisition of Joan Miró's Black and Red Series, a landmark suite of eight etchings from 1938, for MoMA's permanent collection. Also includes works by Miró's peers such as Salvador Dali, Max Ernst, Man Ray, André Masson, and Pablo Picasso.

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Projects 66: Campana/Ingo Maurer
November 27, 1998–January 19, 1999

Devoted to outstanding design, this exhibition features evocative furniture by Fernando and Humberto Campana, from São Paulo, Brazil, and innovative lamps by Ingo Maurer, the renowned German lighting designer.

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