View Finding: Selections from The Walther Collection @ Metropolitan Museum of Art, New York

View Finding: Selections from The Walther Collection

Metropolitan Museum of Art, New York

October 28, 2025 – May 3, 2026

Délio Jasse (Angolan, born 1980)

Untitled, from the series "Terreno Ocupado", 2014

Cyanotype

Sheet: 22 1/16 × 29 15/16 in. (56 × 76 cm)

The Metropolitan Museum of Art, New York, 

Promised gift of the Walther Family Foundation

© Délio Jasse

Luo Yongjin (Chinese, born 1960)

Oriental Plaza, Beijing, 1998–2002

Inkjet print

Unrolled: 14 9/16 in. × 13 ft. 10 15/16 in. (37 × 424 cm)

Box: 3 3/4 × 17 5/16 × 3 15/16 in. (9.6 × 44 × 10 cm)

The Metropolitan Museum of Art, New York, 

Promised gift of the Walther Family Foundation

© Luo Yongjin

The Metropolitan Museum of Art presents View Finding: Selections from The Walther Collection, a preview of a landmark promised gift of photographs from Artur Walther. Assembled over three decades and across five continents, Walther’s vast collection of over 6,500 photographs and time-based media is regarded as among the finest in the world. The 40 works in View Finding introduce his landmark gift and considers how artists across the globe use the camera to navigate shifting terrain. 

“This remarkable promised gift from The Walther Collection marks a watershed moment at The Met,” said Max Hollein, The Met’s Marina Kellen French Director and CEO. “View Finding’s carefully curated selection brings iconic works into conversation with new and emerging artistic voices. We are deeply grateful to Artur and his foundation for this gift that profoundly expands our ability to tell a global history of photography.”

Jeff L. Rosenheim, Joyce Frank Menschel Curator in Charge of the Department of Photographs, added, “At The Met, The Walther Collection will become an essential resource for scholars and museum goers. Introducing its phenomenal range of works, this exhibition situates the camera as a powerful tool for social critique, reflection, and change.”

Aida Silvestri (Eritrean, born 1978)

Awet. Eritrea to London by car, boat, lorry, train

and aeroplane, 2013

Image: 34 7/16 × 24 13/16 in. (87.5 × 63 cm)

Text: 11 × 8 1/8 in. (28 × 20.7 cm)

The Metropolitan Museum of Art, New York,

Promised gift of the Walther Family Foundation

© Aida Silvestri

Kohei Yoshiyuki (Japanese, born 1946)

Untitled, from the series "The Park", 1971

Gelatin silver print

Image: 12 5/16 × 18 3/8 in. (31.2 × 46.7 cm)

Sheet: 15 7/8 × 19 13/16 in. (40.3 × 50.4 cm)

The Metropolitan Museum of Art, New York, 

Promised gift of the Walther Family Foundation

© Kohei Yoshiyuki

The modern and contemporary photographs in View Finding highlight photographic practices across Asia, Africa, Europe, and North America. Both inventive and politically urgent, these projects engage the pressing issues of their time. Responding to transformations of the landscape and built environment, they investigate the effects of architecture and spatial planning on identity and social order. In apartheid-era Johannesburg, as in industrializing Shenzen and post-colonial Dakar, they register and reshape environments in flux, looking anew at how we traverse them.

The exhibition introduces many new artists to the Museum and celebrates their Met debut. Works by Santu Mofokeng, François-Xavier Gbré, Luo Yongjin, and others expand and enrich the collection and testify to the dynamic role of the camera in contemporary art making across the globe. Much of their work serves an intermediary role and reflects broader histories of creative work: Delio Jasse reprises the 19th-century cyanotype process to make new views of industrializing Angola, and Aida Silvestri stitches embroidery thread into her prints to chart the perilous migratory paths of Eritrean refugees. In a time-based media presentation, collaborators Mikhael Subotzky and Patrick Waterhouse explore an infamous Johannesburg apartment building as an emblem of apartheid and its aftermath. Artur Walther commissioned their 12-channel slideshow, Windows, Ponte City (2008–11), which appears at The Met in a bespoke installation.

View Finding explores a spectrum of photographic practice, from the formal to the applied. The show features street scenes by Lisette Model and Nobuyoshi Araki, and cool-eyed conceptual projects by Bernd and Hilla Becher, Günther Förg, and Thomas Ruff. The work of these lauded practitioners keeps company with that of emerging artists and endeavors far outside the realm of fine art—among them, views by French and American photographers for hire and NASA dispatches from deep space. Such vernacular materials are a recent focus of The Walther Collection, and their inclusion here testifies to the scope of the medium’s artistic, scientific, and commercial aims.

“When Artur Walther began to acquire photography, he aimed to expand the parameters of the field,” said Virginia McBride, Assistant Curator in the Department of Photographs. “In turn, View Finding presents international perspectives on hyperlocal subjects. With inventive eyes, the photographers in View Finding study the sidewalks of Nairobi and storefronts of Fifth Avenue. They search public parks from Tokyo to Tangier. In private bedrooms, parking lots, and other places easy to overlook, they focus in, finding—here and there—unlikely sites of self-reflection and social change.”

Santu Mofokeng (South African, 1956–2020)

Winter in Tembisa, 1991

Gelatin silver print

Image: 14 15/16 × 22 13/16 in. (38 × 58 cm)

The Metropolitan Museum of Art, New York, 

Promised gift of the Walther Family Foundation

© Santu Mofokeng

François-Xavier Gbré (Ivorian, born France, born 1978)

Salle des avocats, Palais de Justice, Cap Manuel, Dakar, 2014

Chromogenic print

Image: 39 3/8 × 59 1/16 in. (100 × 150 cm)

The Metropolitan Museum of Art, New York, 

Promised gift of the Walther Family Foundation

© François-Xavier Gbré

The Walther Collection Overview

The Walther Collection is principally known for its photographs by 20th-century and contemporary artists from across the African continent. Walther conceived the collection to explore how photographers documented the enormous social change that has unfolded over the last century. Highlights include photographs by Santu Mofokeng and Yto Barrada, whose works are shown in View Finding, along with Seydou Keïta, Malick Sidibé, Samuel Fosso, Zanele Muholi, Lebohang Kganye, and J. D. ‘Okhai Ojeikere. These and other artists in the collection use the camera to explore shifting roles of identity and interrogate experiences of migration, colonialism, war, and industrialization. The collection holds superb photographs by the most prominent African photographers in South Africa, Namibia, Nigeria, Mali, Senegal, Zimbabwe, Kenya, Congo, Uganda, Eritrea, Ethiopia, and Morocco.

The Walther Collection is equally rich in late 20th-century and contemporary photographs and video from China. These works show the widespread adoption of the camera by successive generations of Chinese artists after the Tiananmen Square events of 1989. The photographers respond to transformative changes not only to the urban landscape but also to social relations and everyday life. Notable examples include works by Luo Yongjin and Weng Fen, whose works are presented in View Finding. Other preeminent practitioners include Ai Weiwei, Hai Bo, and Yang Fudong. The collection also includes a significant group of Japanese photographs, with large holdings of works by Nobuyoshi Araki, whose intimate visual diary of Tokyo appears in the exhibition.

Bernd and Hilla Becher (German, active 1959–2007)

Grain Elevators, 1982–2001

15 gelatin silver prints

22.17 x 18.23 x 1.1 in. (56.3 x 46.3 x 2.8 cm), each

The Metropolitan Museum of Art, New York,

Promised gift of Artur Walther

© Estate Bernd & Hilla Becher, represented by Max Becher

Walther first began to build a collection of photographs from his homeland of Germany. A key early acquisition—an outstanding typology by Bernd and Hilla Becher—is featured in View Finding, illustrating a visual framework that would come to shape his subsequent interests. The conceptual legacy of the Bechers runs through the collection and the exhibition.

In 2010, The Walther Collection presented its inaugural exhibition, Events of the Self: Portraiture and Social Identity, organized by the late curator Okwui Enwezor, at its newly designed museum campus in Neu-Ulm, Germany. Since then, the collection has organized nine major thematic and monographic exhibitions at its museum. Several of these exhibitions traveled widely, including to museums in Europe, Mexico, and West Africa. From 2011 to 2021, the Walther Family Foundation also operated The Walther Collection Project Space in New York City’s Chelsea neighborhood, introducing photographers from Africa and Asia to American audiences for the first time through solo and thematic exhibitions, public programs, and symposia co-organized with Columbia University and New York University. The collection co-published 20 books with Steidl, all of which have broadened the scholarship about modern and contemporary photography by spotlighting artists who have made a substantial contribution to the history of the medium.

About Artur Walther

Artur Walther began collecting photography in the late 1990s, initially focusing on German modernist photography before expanding to contemporary photography and video. In 2010, he established the Walther Family Foundation. The foundation, which operates a large exhibition space in Neu-Ulm, Germany, presents thematic and monographic exhibitions drawn from the collection’s expansive range of photography and media art, including African, Chinese, Japanese, and European holdings of modern and contemporary works, 19th-century photography from Europe and Africa, and vernacular lens-based artwork from across the globe. Walther is the recipient of the 2016 Trustee Award from the International Center of Photography (ICP) and the 2021 Kulturpreis of the Deutsche Gesellschaft für Photographie (DGPh). Born in Neu-Ulm, Germany, he received his MBA from Harvard Business School and was later a partner at Goldman Sachs.

Displays in The Michael C. Rockefeller Wing and Tang Wing

Select works from the promised gift have been integrated into The Met’s reimagined galleries for the Arts of Africa, part of the redesigned Michael C. Rockefeller Wing. Concurrent with View Finding, an inaugural display explores self-portraiture in the work of artists including Seydou Keïta, Zanele Muholi, and Samuel Fosso. In his acclaimed African Spirits series (2008), Fosso pays tribute to heroes of the African diaspora by adopting the personae of Martin Luther King Jr., Tommie Smith, Angela Davis, Patrice Lumumba, Léopold Senghor, and Aimé Césaire, among others.

Works from The Walther Collection will also be featured in the forthcoming Tang Wing, where they will enrich presentations of modern and contemporary art from around the world. Designed by architect Frida Escobedo, the 126,000-square-foot, five-story wing is set to open in 2030, with more than 70,000 square feet for the presentation of art and approximately 18,500 square feet of outdoor space spread across the fourth- and fifth-floor terraces.

View Finding: Selections from The Walther Collection is co-organized by Jeff Rosenheim, Joyce Frank Menschel Curator in Charge, and Virginia McBride, Assistant Curator, both in the Department of Photographs.

METROPOLITAN MUSEUM OF ART

The Met Fifth Avenue, New York

Joyce and Robert Menschel Hall for Modern Photography, Gallery 851

www.metmuseum.org

Pearlman Collection gifts to Brooklyn Museum, LACMA, and MoMA - Upcoming Exhibitions

Pearlman Collection gifts to the Brooklyn Museum, the LACMA, and the MoMA 

Upcoming Exhibitions at the three museums

Amedeo Modigliani 

Jean Cocteau, 1916

Promised gift from the Henry and Rose Pearlman Foundation 

to the Brooklyn Museum

Photo by Bruce White

Vincent van Gogh

Tarascon Stagecoach, 1888 

Promised gift from the Henry and Rose Pearlman Foundation 

to the LACMA

Photo by Bruce White

Paul Cézanne 

Mont Sainte-Victoire, c. 1904–06 

Promised gift from the Henry and Rose Pearlman Foundation 

to the MoMA

Photo by Bruce White

The Henry and Rose Pearlman Foundation entire collection will be gifted to three major institutions: the Brooklyn Museum, the Los Angeles County Museum of Art (LACMA), and The Museum of Modern Art (MoMA) in New York. Comprising an exceptional group of Impressionist, Post-Impressionist, and modern artworks, the Pearlman Collection will be gifted across the three institutions in a novel sharing arrangement that will enhance access to larger and more diverse audiences through continually changing contexts.

In recognition of Henry and Rose’s generous spirit, the collection will travel as an exhibition before being placed under the care of the respective institutions. From February to July 2026, the exhibition Village Square: Gifts of Modern Art from the Pearlman Collection to the Brooklyn Museum, LACMA, and MoMA will be on view at LACMA, and in the fall of 2026 the collection will travel to the Brooklyn Museum. In the near future, MoMA will also present an exhibition of the Pearlman gifts.

Henry Pearlman (1895–1974) began purchasing avant-garde art in 1945 with a landscape by Chaïm Soutine, which led to a selfguided education in 19th- and 20th-century European art and a passion for collecting that endured for the rest of his life. From the very start of this collection, he and his wife, Rose, maintained a fundamental interest in sharing their experience of art as widely as possible, instilling populist values in their children and grandchildren that are the Foundation’s inspiration for making this extraordinary gift. 

As part of this gift, 29 works will join the Brooklyn Museum’s collection, with exceptional paintings and sculpture by Chaïm Soutine, Paul Gauguin, Edgar Degas, and Amedeo Modigliani, including the latter’s 1916 portrait Jean Cocteau and an extremely rare limestone sculpture, Head (c. 1910–11); LACMA will receive six works, including Edouard Manet’s Young Woman in a Round Hat (c. 1877–79), and Vincent van Gogh’s Tarascon Stagecoach from 1888, the first paintings by either artist to enter the collection; and MoMA will receive 28 works, with a primary focus on Paul Cézanne, including the paintings Mont Sainte-Victoire (1904–06), and Cistern in the Park of Château Noir (c. 1900), as well as 15 of Cézanne’s most luminous watercolors.

“For years we have explored every model we could imagine for the future ownership and guardianship of this collection,” explained Daniel Edelman, President of the Henry and Rose Pearlman Foundation. “We ultimately chose the Brooklyn Museum for the works that tell Henry’s story of discovery and for its commitment to engaging a diverse community; LACMA for works that specifically enhance their ability to innovate around bringing art to where people are; and MoMA, where Cézanne’s works on paper will be shared and cared for by one of the finest departments of drawings and prints that we know, as well as a half dozen of his paintings that together support the artist’s foundational role in the story of modern art. With very different collections, communities, and presentations of art, these three great institutions share an understanding that museums, their audiences, and how those audiences engage with art, are constantly changing. All three are committed to leading that challenge and inspiring others to meet it as well.

“Rather than put conditions on the gift that would become limiting in a future that none of us can know, we created a set of guidelines to encourage these three institutions to collaborate on a flexible movement of the art among them. Our aim is to bring these major works to new audiences, allowing them to be seen in different contexts, reuniting our collection’s works with one another on a regular basis, and perhaps even inspiring collectors and museums to consider new models for ownership of art.”

“We’re thrilled to welcome this extraordinary gift from the Pearlman Collection—the most significant addition to our European art holdings in nearly a century,” said Anne Pasternak, Shelby White and Leon Levy Director of the Brooklyn Museum. “Henry Pearlman collected with the public in mind, believing that modern art should inspire audiences of all backgrounds. Between 1960 and 1986, the Brooklyn Museum presented six exhibitions dedicated to the collection, and now, nearly 40 years after the last of those presentations, we’re honored to give a group of these masterworks a permanent home in the borough where the Pearlman family grew up. As important, we are excited by the Foundation’s strategy of collection sharing with our wonderful peers, MoMA and LACMA.”

“LACMA is deeply grateful to welcome these masterpieces to the museum’s collection, and especially for van Gogh and Manet, two towering figures of 19th-century art, whose paintings will be represented in our collection for the first time,” said Michael Govan, LACMA CEO and Wallis Annenberg Director. “It is also an honor to help fulfill Henry and Rose’s wish to share their collection with our vast public, together with the Brooklyn Museum and MoMA. We look forward to presenting the collection to LACMA’s visitors in an upcoming exhibition next year, as well as in future exhibitions at LACMA and our colleague institutions both locally and around the world.”

“This generous gift significantly expands MoMA’s collection of works by Paul Cézanne and Edgar Degas, and underscores the enduring legacy of Henry and Rose’s vision,” said Glenn D. Lowry, The David Rockefeller Director of The Museum of Modern Art. “We are honored to work with our colleagues in Los Angeles and Brooklyn to ensure that the Pearlmans’ commitment to research, scholarship and access, and their belief in the artists they acquired will continue to inspire the public now and in the future.”

About the Pearlman Foundation

Since 1976, the Henry and Rose Pearlman Collection has remained on long-term loan at the Princeton University Art Museum. While in the Art Museum’s care, and in collaboration with the Foundation, there have been three traveling shows of the collection, some 500 individual loans of artworks to exhibitions across the globe, and two tour publications, including a recent one offered online and free to the public.

Meanwhile the Foundation created a website that allows high resolution viewing of works, including those that can’t always be on exhibition. It supported the digitalization of the history of the collection by the American Archives of American Art and its availability online. And it encouraged proactive lending, offering individual and small groupings of works to museums to exhibit within their permanent collection galleries.

LACMA - Los Angeles County Museum of Art

5905 Wilshire Boulevard, Los Angeles, CA, 90036

www.lacma.org

East Asian Art Rediscovered Treasures @ Cincinnati Art Museum

Rediscovered Treasures 

Cincinnati Art Museum

September 19, 2025 — January 18, 2026

This exhibition reveals the untold stories behind East Asian masterpieces long housed in the Cincinnati Art Museum’s (CAM) collection. Featuring approximately 60 objects—ranging from Japanese armor and Chinese scrolls to Korean lacquer—Rediscovered Treasures brings to light transformative discoveries made possible by decades of scholarship, archival research and conservation efforts. 

While many of the featured works entered the museum in the late 19th and early 20th centuries, they remained un-accessioned or misidentified due to a lack of staff expertise in Asian art at the time. Since 2002, when the museum formally established its Asian art department, ongoing research led by Hou-mei Sung, PhD, Curator of East Asian Art, has dramatically improved the understanding of these objects. Their rediscovery has not only reframed the museum’s collection, but has also illuminated Cincinnati’s early cultural ties to East Asia.

Among the exhibition’s highlights are three exceptional works: the fan-favorite Japanese bronze “magic mirror,” which reveals an image of Amida Buddha under special lighting, making CAM one of the few museums in the world to house such an object; a Qing dynasty portrait of a court lady, identified through research as an imperial portrait of Lady Nian, possibly painted by the Jesuit artist Giuseppe Castiglione; and a Meiji period sumo wrestler’s embroidered apron, recently linked to the tragic career of Otokoyama Osuke, a promising young wrestler immortalized in a ukiyo-e print by Utagawa Kuniaki II. Each piece offers a unique story of rediscovery that enriches the understanding of East Asian art and culture.

“This exhibition is both a reflection of CAM’s mission to preserve and interpret cultural heritage and a celebration of the exciting process of rediscovery,” said Hou-mei Sung. “Many of these works, once overlooked or mislabeled, now tell vibrant stories of art, of individual lives, and of historical connections that extend far beyond Cincinnati.”

The exhibition is organized in three thematic sections. Uncovering Hidden Gems spotlights artworks recovered from storage and newly identified, including Japanese scrolls linked to Cincinnati artist Robert Frederick Blum and samurai armor tied to CAM’s early supporters and a trailblazing Japanese doctor. Revealing Identities feature reclassified works with newly attributed artists, corrected origins and uncovered meanings. Preserving Legacies highlights the scientific and technical efforts behind preserving these treasures, with insights from CAM conservators Cecile Mear and Kelly Rectenwald.

CINCINNATI ART MUSEUM

Thomas R. Schiff galleries (234 and 235)

953 Eden Park Drive, Cincinnati, OH 45202

www.cincinnatiartmuseum.org

Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer @ Portland Art Museum

Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer

Portland Art Museum

September 6, 2025 – January 11, 2026

Jeff Koons, American, (b. 1955)

Gazing Ball (da Vinci Mona Lisa), edition 38/40, 2016

Archival pigment print with inlaid mirrored glass

40 11/16 x 27 3/4 in. Overall

Published by Two Palms, New York, NY

Collection of Jordan D. Schnitzer

© Jeff Koons

Photography Courtesy of the artist and Two Palms, NY

Dinh Q. Lê, Vietnamese-American, (1968 - 2024)

I am Large, I Contain Multitudes, edition AP 1/1, 2009

Bicycle, steel, mirrors, wood, plastic, rubber, and metal lock

72 x 90 x 40 in. Overall, 90 x 106 1/2 x 57 in. Crate

Published by the artist

Collection of the Jordan Schnitzer Family Foundation

© Courtesy of Elizabeth Leach Gallery and the Dinh Q. Lê Estate

Photography Aaron Wessling

Amy Sherald, American, (b. 1973)

As Soft as She Is..., edition 2/35, 2024

70-color screenprint on Lana Aquarelle 600 gsm

50 5/8 x 42 3/8 x 1 3/4 in. Frame, 

45 1/4 x 37 in. Sheet, 40 1/4 x 32 in. Image

Published by Hauser & Wirth, New York, NY

Collection of the Jordan Schnitzer Family Foundation

© Amy Sherald. Courtesy the artist and Hauser & Wirth

Photography Aaron Wessling

Portland Art Museum (PAM) presents Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer, an exhibition that shares works from Oregon’s foremost fine art collector by some of today’s leading artists with local Portland audiences.

Highlighting recent acquisitions from the collections of Jordan Schnitzer and his Family Foundation, the exhibition includes more than 75 works—some of which have never previously been exhibited—by celebrated artists of the 20th century, such as Louise Bourgeois, Jasper Johns, Ellsworth Kelly, and Robert Rauschenberg, in addition to contemporary luminaries such as Nick Cave, Jenny Holzer, Mickalene Thomas, and Hank Willis Thomas.

Jordan Schnitzer, who has been named an ARTnews Top 200 art collector globally, is a lifelong Portland resident and local business owner. His collaboration with PAM to exhibit these collections is an extension of the Jordan Schnitzer Family Foundation’s mission to share art with audiences across the globe.

“Instead of having to travel to New York City to go to the Museum of Modern Art or the Whitney, all you have to do is visit the Portland Art Museum to see exceptional artwork by some of today’s biggest artists," said Jordan Schnitzer. “Each year, when I collect new works, I think about how to share them with museums across the country through the Jordan Schnitzer Family Foundation exhibition program. My hope is that they will inspire audiences who might not otherwise have the opportunity to see works by these amazing artists.”

Jeffrey Gibson

Native American, Mississippi Band of Choctaw Indians 

and Cherokee, (b. 1972)

SPIRIT AND MATTER, 2023

Acrylic paint on elk hide inset in custom wood frame

90 x 72 1/2 x 5 in. Frame

Collection of the Jordan Schnitzer Family Foundation

© Jeffrey Gibson

Photography Aaron Wessling

Tschabalala Self, American, (b. 1990)

Untitled (Bodega Run), 2023

Unique cast and pigmented paper in artist designed frame

40 1/4 x 49 1/4 in. Sheet, 45 3/4 x 54 3/4 x 6 7/16 in. Frame

Published by Two Palms, New York, NY

Collection of the Jordan Schnitzer Family Foundation

Courtesy of the artist and Two Palms, NY

Photography Aaron Wessling

Katherine Bernhardt, American, (b. 1975)

Untitled, 2024

Monotype in watercolor and crayon

100 3/4 x 52 3/4 x 2 5/8 in. Frame, 96 x 48 in. Sheet

Published by Two Palms, New York, NY

Collection of the Jordan Schnitzer Family Foundation

Courtesy of the artist and Two Palms, NY

Photography Aaron Wessling

The exhibition features works across various media including paintings, textiles and tapestries, sculpture, photography, glass, ceramics, mixed media, and more, many of which will be shown publicly for the first time. Additional artists in the exhibition include Roy Lichtenstein, Jeff Koons, Helen Frankenthaler, Andy Warhol, Keith Haring, Dinh Q. Lê, Julie Mehretu, and Tschabalala Self. The wide array of artists represented in this presentation includes numerous women, Native American and Black artists, and other artists of color, building on PAM’s own work to spotlight underrepresented artists who represent the myriad communities that comprise Oregon.

“Portland Art Museum is a vital cultural resource for the region, which is why we are thrilled to partner with the Jordan Schnitzer Family Foundation collection to provide our community more opportunities to access and find inspiration in the art that brings the world to Portland,” said Brian Ferriso, Director. “Jordan and his family have long been ardent supporters of the Museum and our city, and we are grateful for his collaboration with PAM to further our mission to engage and enrich Portland’s diverse communities through art.”

Nick Cave, American, (b. 1959)

Rescue, 2014

Mixed media including ceramic birds, metal flowers, 

ceramic Basset Hound, and vintage settee

70 x 50 x 40 in. Overall

Collection of the Jordan Schnitzer Family Foundation

© Nick Cave. Photo by James Prinz Photography 

Courtesy of the artist and Jack Shainman Gallery, New York

Alison Saar, American, (b. 1956)

Plucked, 2022

Charcoal and acrylic on vintage cotton picking bag, 

found hooks and chain, 93 x 28 in. Overall

Collection of the Jordan Schnitzer Family Foundation

© Alison Saar. Courtesy of L.A. Louver, Venice, CA.

Photography Aaron Wessling 

Christopher Myers, American, (b. 1974)

Let the Mermaids Flirt with Me, 2022

Stained glass lightboxes and tent

42 3/4 x 42 3/4 x 5 in. Frame

Collection of the Jordan Schnitzer Family Foundation

© Christopher Myers 2022 

Courtesy of the artist and James Cohan, New York 

Photo by Dan Bradica

Other notable works in the exhibition include Christopher Myers' immersive and mesmerizing installation Let the Mermaids Flirt with Me, on view for only the second time since debuting at Art Basel Miami in 2022. Featured in the Museum’s grand Arlene and Harold Schnitzer Sculpture Court, the installation is a suite of stained glass paintings in lightboxes installed within a freestanding octagonal architectural structure, creating a chapel for contemplation of the illuminated compositions.

Several of the artists featured in the exhibition have previously exhibited works at PAM or are represented within PAM’s encyclopedic collection, including Hank Willis Thomas, with whom PAM organized a traveling solo exhibition in 2019, and Jeffrey Gibson, whose work PAM commissioned and exhibited at the Museum in 2023 before serving as co-commissioner for his exhibition for the U.S. Pavilion at the 60th International Art Exhibition of La Biennale di Venezia (the Venice Biennale).

PAM has also previously featured works from the collections of Jordan Schnitzer in its exhibitions including En Suite: Contemporary Prints from the Collections of Jordan D. Schnitzer and The Jordan Schnitzer Family Foundation (2001), Location/Dislocation: Recent Prints from the Collections of Jordan D. Schnitzer and The Jordan Schnitzer Family Foundation (2003), Minimalism/Postminimalism: Selections from the Collections of Jordan D. Schnitzer and His Family Foundation (2007), Ellsworth Kelly Prints (and Paintings) (2012), Anish Kapoor: Prints from the Collections of Jordan D. Schnitzer (2015), Andy Warhol Prints (2016), Josiah McElheny’s Cosmic Love (2018), and Jeffrey Gibson: To Name An Other (2022).

This exhibition is organized by the Portland Art Museum in partnership with The Jordan Schnitzer Family Foundation. 

ABOUT THE JORDAN SCHNITZER FAMILY FOUNDATION

Jordan Schnitzer 

Courtesy of Jordan Schnitzer Family Foundation

The Jordan Schnitzer Family Foundation’s contemporary art collection is one of the most notable in North America. The Foundation has shared its art with millions across the U.S. and internationally through groundbreaking exhibitions, publications, and programs. Founded by ARTnews Top 200 Collector Jordan D. Schnitzer—whose passion for art began in his mother’s contemporary art gallery in Portland, Ore.—the Foundation has organized over 180 exhibitions from its collection and additionally loaned thousands of artworks to over 120 museums at no cost to the institutions. Jordan Schnitzer began collecting contemporary prints and multiples in 1988 and today is North America’s largest print collector. His Foundation’s collection consists of more than 22,000 works of art, including a wide variety of prints, sculptures, paintings, glass, and mixed media works.

PORTLAND ART MUSEUM - PAM

1219 SW Park Avenue Portland, OR 97205

portlandartmuseum.org

Jangueando: Recent Acquisitions, 2021-2025 Exhibition @ El Museo del Barrio, New York

Jangueando: Recent Acquisitions, 2021-2025 

El Museo del Barrio, New York 

August 28, 2025 — Summer 2026 

Laura Aguilar

Plush Pony #25, 1992

Gelatin silver print 

Collection of El Museo del Barrio, New York 

Gift of the Acquisitions Committee

Photo by Matthew Sherman 

william cordova 

2 tienes santo pero no eres Babalawo, 2023 

Mixed media 

Collection of El Museo del Barrio, New York 

Gift in memory of Rudy Perez

Danielle De Jesus 

Loyalty like this doesn't exist anymore, 2021 

Oil on linen 

Collection of El Museo del Barrio, New York

Gift of Noah Roy 

Photo by Dario Lasagni

Mundo Meza 

Kuikuro Jakui Flutes, 1976 

Acrylic on canvas 

Collection of El Museo del Barrio, New York 

Gift of the Estate of the artist 

Photo by David Frantz

El Museo del Barrio in New York presents Jangueando: Recent Acquisitions, 2021–2025, a dynamic exhibition showcasing 39 newly acquired works by 36 artists that reflect the Museum’s ongoing commitment to representing the cultural vibrancy and complexity of Latinx and Latin American communities. This exhibition marks a bold and celebratory moment for El Museo’s evolving Permanent Collection.

“Jangueando embodies El Museo del Barrio’s unwavering commitment to artists whose work captures the complexities, resilience, and brilliance of our Latine culture. In this moment of heightened threats, this exhibition becomes more than a celebration—it asserts the power of gathering—of hanging out—as a form of resistance, healing, and transformation.” —Patrick Charpenel, Executive Director, El Museo del Barrio.

The title is a play on words. It looks to janguear, Puerto Rican slang for socializing with friends. From hanging out to hanging art, here it uses the museum context to create a space of dialogue and gathering. At a time when many of the communities represented by El Museo del Barrio are under attack—through immigration raids, backlash against DEI initiatives, and the cancellation of federal grants—these multiple interpretations imply both solidarity and a political call to action through holding space and kinship.

Hiram Maristany

The Gathering, 1964/2022

Silver gelatin print

Collection of El Museo del Barrio, New York 

Museum Purchase

Carlos Motta with Higinio Bautista 

Shaman Boa, 2023 

Carved wood 

Collection of El Museo del Barrio, New York 

Gift of the Acquisitions Committee 

Benjamin Muñoz 

Contract Labor, 2024 

Chine collé woodcut on paper 

Collection of El Museo del Barrio, New York 

Gift of Benjamin & Julianna Muñoz

Jaime Muñoz 

Metal Only, 2022

Acrylic, glitter, paper, and velvet on wood panel

Collection of El Museo del Barrio, New York

Gift of Lio Malca

El Museo del Barrio’s Permanent Collection of more than 8,500 artworks was shaped by the Museum’s unique history as an artist-led, community-focused institution from when it was first established in 1969. The founding community of the Museum faced extreme racism and economic hardship and insisted that art had the power to help communities connect in the face of these trials and, together, imagine alternative ways of being.

Jangueando brings together 39 works by artists at various stages in their careers, representing a range of generations, cultural perspectives, and media—including painting, photography, sculpture, and video. Organized into thematic clusters, select groupings build on the museum’s historical strengths, such as Puerto Rican and Nuyorican portraiture, Latinx photography, and printmaking. The exhibition also highlights the evolution of the museum’s collecting strategy, with renewed focus on queer artists and those of Indigenous descent.

“Ever evolving, El Museo del Barrio’s distinct Permanent Collection stands as a testament to the artists, cultural workers, donors, and community members who have helped build and shaped it over time,” says Susanna V. Temkin, Interim Chief Curator, El Museo del Barrio. “Jangueando marks an exciting new chapter in the Museum’s evolution as a collecting institution—serving not only as a platform to debut new acquisitions, but also as a reflection of our shared, collective spirit. The exhibition offers both a framework and a provocation to what is at stake in being together.”

Juan Sánchez 

Still from Unknown Boricua Streaming: 

Nuyorican State of Mind, 2011 

Video, color with sound, 8:09 mins 

Collection of El Museo del Barrio, New York

Gift of Javier Lumbreras

Ethel Shipton 

Change Cambio, 2020 

House paint and vinyl on wooden panel 

Collection of El Museo del Barrio, New York 

Gift of the artist and Ruiz-Healy Art 

Daiara Tukano 

Hori, 2023 

Acrylic on canvas

Collection of El Museo del Barrio, New York 

Gift of Daiara Tukano and Millan

Artists whose works are on view in the exhibition include:

Eduardo Abaroa (1968, Mexico City, Mexico; lives in Mexico City)

Laura Aguilar (1959, San Gabriel, CA – 2018, Long Beach, CA)

José Alicea (1928, Ponce, Puerto Rico; lives in Río Piedras, Puerto Rico)

Lola Álvarez Bravo (1903, Lagos de Moreno, Mexico - 1993, Mexico City, Mexico)

assume vivid astro focus (formed in New York, NY in 2001)

Myrna Báez (1931, Santurce, Puerto Rico – 2018, Hato Ray, Puerto Rico)

Higinio Bautista

Eloy Blanco (1933, Aguadilla, Puerto Rico – 1984, New York, NY)

Luis Carle (1962, San Juan, Puerto Rico; lives in New York, NY)

Los Carpinteros (formed in La Havana, Cuba in 1992)

Manuel Chavajay (1982, San Pedro La Laguna, Guatemala, lives in San Pedro La Laguna)

william cordova (1971, Lima, Peru; lives in North Miami Beach, FL)

Abraham Cruzvillegas (1968, Mexico City, Mexico; lives in Mexico City)

Danielle De Jesus (1987, Brooklyn, NY; lives in Brooklyn)

Sandra Gamarra Heshiki (1972, Lima, Peru; lives in Madrid, Spain)

Luis Gispert (1972, Jersey City, NJ)

Matías González Chavajay (b. 1959, San Pedro La Laguna, Guatemala, lives in San Pedro La Laguna)

Pedro Rafael González Chavajay (b. 1956 in San Pedro la Laguna, Guatemala, lives in San Pedro La Laguna)

Julia Isidrez (1967, Itá, Paraguay; lives in Itá)

Antonio C. Ixtamer (b. in 1968 in San Juan la Laguna, Guatemala, lives in San Juan la Laguna, Guatemala)

Lidia Lisbôa (1970, Guaira, Brazil; lives and works in São Paulo, Brazil)

Marepe (Marcos Reis Peixoto) (1970, Santo Antônio de Jesus Bahia, Brazil; lives in Santo Antônio de Jesus)

Hiram Maristany (1945, New York, NY – 2022, St. Petersburg, FL)

Maria Teodora Mendez de González

Mundo Meza (1955, Tijuana, Mexico - 1985, Los Angeles, CA)

Carlos Motta (1978, Bogota, Colombia; lives in New York, NY)

Benjamin Muñoz (1993, Dallas, TX; lives in Dallas)

Jaime Muñoz (1987, Los Angeles, CA; lives and works in Pomona, CA)

Paula Nicho Cúmez (1955, Comalapa, Guatemala, lives in Comalapa)

Miguel Pou y Becerra (1880, Ponce, Puerto Rico - 1968 San Juan, Puerto Rico)

Juan Sánchez (1954, Brooklyn, NY; lives in Brooklyn)

Ethel Shipton (1963, Laredo, TX; lives in San Antonio, TX)

Valeska Soares (b. 1957, Belo Horizonte; lives in Brooklyn)

Laureana Toledo (1970, Ixtepec, Mexico; lives in Mexico City, Mexico)

Rigoberto Torres (1960, Aguadilla, Puerto Rico; lives in New York, Puerto Rico, and Florida)

Daiara Tukano (1970, Guaira, Brazil; lives and works in São Paulo, Brazil)

The exhibition is organized by the Curatorial Department of El Museo del Barrio: Zuna Maza, Lee Sessions, and Susanna V. Temkin, with María Molano Parrado.

EL MUSEO DEL BARRIO, NEW YORK

1230 5th Avenue at 104th Street, New York, NY 10029 

www.elmuseo.org

Dessins sans limite. Chefs-d'oeuvre de la collection du Centre Pompidou @ Grand Palais, Paris

Dessins sans limite. Chefs-d'oeuvre de la collection du Centre Pompidou

Grand Palais, Paris

16 décembre 2025 - 15 mars 2026

Avec plus de 35 000 dessins, la collection du cabinet  d'art graphique du Centre Pompidou est l'un des plus importants ensembles au monde d'œuvres sur papier des XXe et XXIe siècles. Ce fonds exceptionnel par sa richesse et sa diversité n'a encore jamais fait l'objet d'une grande exposition qui lui soit exclusivement consacrée. L'exposition Dessins sans limite est donc l'occasion de révéler pour la première fois les trésors inestimables de cette collection qui offre l'opportunité unique de comprendre comment ce medium s'est totalement réinventé au XXe siècle.

Car nombreux sont les artistes qui se sont emparés de ce mode d'expression originel et cathartique afin de transgresser les limites de l'art au point que le dessin est devenu aujourd'hui le laboratoire de tous les possibles. Au-delà de la feuille ou du traditionnel carnet, son domaine d'expression s'est étendu vers bien d'autres supports jusqu'à celui du mur ou de l'espace de l'installation. L'art graphique s'est ouvert à d'autres pratiques, étendant son champ à d'autres formes d'expression, photographiques, cinématographiques, ou encore numériques, ce qui rend ses frontières toujours plus mouvantes et ouvertes. Le regain d'intérêt porté par les jeunes générations d'artistes pour ce medium élémentaire et accessible est bien la preuve de sa grande actualité. S'il faut faire évoluer la notion même de dessin à l'aune des enjeux esthétiques et plastiques du XXIesiècle, cela n'exclut pas de se replonger dans les fondements d'une pratique qui, demeure par essence ouverte à l'invention et à l'expression de la pensée, qu'elle soit consciente ou inconsciente.

L'exposition Dessins sans limite met à l'honneur des pièces majeures de la collection rarement montrées notamment des œuvres de Balthus, Marc Chagall, Willem de Kooning, Sonia Delaunay, Jean Dubuffet, George Grosz, Vassily Kandinsky, Paul Klee, Fernand Léger, Henri Matisse, Amadeo Modigliani, Pablo Picasso, mais aussi Karel Appel, Jean-Michel Basquiat, Roland Barthes, Robert Breer, Trisha Brown, Marlène Dumas, William Kentridge, Robert Longo, Giuseppe Penone, Robert Rauschenberg, Kiki Smith ou encore Antoni Tàpies. Elle ne s'interdit pas d'aller au-delà du champ de la feuille de papier pour considérer le dessin en tant que performance, installation, ou bien encore dans sa forme animée.

Avec une sélection de près de 300 œuvres de 120 artistes, l'exposition « Dessins sans limites » n'a pas pour ambition de dresser une histoire du dessin aux XXe et XXIe siècles - une entreprise que la nature même du fonds rendrait impossible - mais propose une exploration sensible et subjective de la collection du Cabinet d'art graphique. Sans parti pris chronologique, le parcours est conçu sur le mode de l'anadiplose dans lequel les œuvres dialoguent à travers des face-à-face inédits et éclairants. Y sont considérées successivement quatre modalités du dessin, de la plus traditionnelle à la plus novatrice : étudier, raconter, tracer et animer.

Une exposition coproduite par le GrandPalaisRmn et le Centre Pompidou

Commissaires

Claudine Grammont, Cheffe de service, Cabinet d’art graphique, Centre Pompidou, Musée national d’Art Moderne

Anne Montfort-Tanguy, Conservatrice, Cabinet d’art graphique, Centre Pompidou, Musée national d’Art Moderne

GRAND PALAIS, PARIS

www.grandpalais.fr

Picasso and Klee in the Heinz Berggruen Collection @ Thyssen-Bornemisza Museum, Madrid

Picasso and Klee in the Heinz Berggruen Collection

Thyssen-Bornemisza Museum, Madrid

28 October 2025 - 1 February 2026

The Museo Nacional Thyssen Bornemisza presents a selection of fifty masterpieces by Pablo Picasso and Paul Klee that belonged to the German dealer and collector Heinz Berggruen and are now part of the holdings of the Museum Berggruen in Berlin. 

In 1950 Heinz Berggruen (Berlin, 1914–Paris, 2007) opened a legendary art gallery in Paris that specialised in modern art and was frequented over the next three decades by a prestigious clientele, including his friend Baron Hans Heinrich Thyssen-Bornemisza. From 1980 onwards Berggruen focused exclusively on expanding his own select holdings of twentieth-century works, assembling an outstanding collection that was later acquired by the German government in 2000. The establishment of the Museum Berggruen in the Charlottenburg district, as part of the Neue Nationalgalerie of Berlin, marked the fulfilment of the collector’s wish to not only preserve most of the collection intact for posterity but also be able to share it with the public. In a sense his case is similar to that of Hans Heinrich Thyssen-Bornemisza in Madrid the previous decade. 

While the building is closed for renovation, the Museum Berggruen has organised several international exhibitions since 2022 in Japan and China and, more recently, Europe to show different aspects of the collection’s highlights. The discourse of the exhibition at the Museo Thyssen-Bornemisza is a visual and intellectual dialogue between Heinz Berggruen’s two favourite artists: Pablo Picasso and Paul Klee.

MUSEO NACIONAL THYSSEN-BORNEMISZA

Paseo del Prado, 8. 28014, Madrid

www.museothyssen.org

Kosmos Klee. The Collection @ Zentrum Paul Klee, Bern - Permanent Exhibition with some 80 changing works from the collection

Kosmos Klee. The Collection

Zentrum Paul Klee, Bern 

Permanent Exhibition

Paul and Lily Klee with the cat Bimbo, 

Kistlerweg 6, Bern, 1935

Photo: Fee Meisel

Paul Klee

Ohne Titel (Villa am Langensee) 

[Untitled (Villa at the Langensee)], 1896

Watercolour on paper, 9,9 × 15 cm

Private collection, Switzerland, 

deposit at the Zentrum Paul Klee, Bern

Paul Klee

Ohne Titel (Rückenakt) [Nude from Behind], 1902

Pencil on paper on cardboard, 32,5 × 28,5 cm

Private collection, Switzerland, 

deposit at the Zentrum Paul Klee, Bern

The dynamic permanent exhibition devoted to Paul Klee invites visitors to immerse themselves in the life and work of this important modern artist. With some 80 changing works from the collection, Kosmos Klee offers a chronological survey of Klee’s artistic career. Biographical and archival material provide an insight into his life and time. In addition, the ‘focus room’ offers a space for smaller exhibitions devoted to individual aspects of Klee’s work, or contributions to the artist’s global reception.

Paul Klee

In den Häusern v. St. Germain 

[ In the Houses of St. Germain], 1914, 110

Watercolour on paper on cardboard

15,5 × 15,9/16,3 cm

Zentrum Paul Klee, Bern, donation of Livia Klee

Paul Klee

Tunesische Scizze [Tunisian Sketch], 1914, 212

Watercolour and pencil on paper on cardboard

17,9 × 12,2 cm

Zentrum Paul Klee, Bern, donation of Livia Klee

Paul Klee

Ohne Titel (Fabrikanlage) 

[Untitled (Factory Plant)], 1922

Watercolour and pencil on paper on cardboard

10 × 8,9 cm

Zentrum Paul Klee, Bern, donation of Livia Klee

Zentrum Paul Klee: The collection

The Zentrum Paul Klee is the world’s most important centre for research into Paul Klee’s life and work, and has one of the most significant collections of the artist’s drawings, watercolours and paintings. Paul Klee was primarily a draughtsman, which is why 80% of the collection of the Zentrum Paul Klee consists of works on paper, matching the collected works. Because of the fragility of the works as well as the large size and diversity of the collection, only parts of it can be displayed at once. Paul Klee enjoyed experimenting, not only in terms of content and form but also technically, using light-sensitive paints, inks and papers. For that reason the works need periods of rest between periods on display.

Paul Klee

Karneval im Gebirge 

[Carnival in the Mountains], 1924, 114

Watercolour on primed paper on cardboard

24 × 31,3 cm

Zentrum Paul Klee, Bern

Paul Klee

Fische im Kreis [Fishes in a Circle], 1926, 140

Oil and tempera on primed muslin on cardboard

42 × 43 cm

Zentrum Paul Klee, Bern, donation of Livia Klee

Paul Klee

Nordzimmer [North Room], 1932, 17

Watercolour on paper on cardboard

37 × 55 cm

Zentrum Paul Klee, Bern

Kosmos Klee

With Kosmos Klee. The Collection the Zentrum Paul Klee offers visitors the opportunity to immerse themselves in Paul Klee’s life and work, as well as in the unique collection of the institution. Some 80 rotating and chronologically organised works provide an overview of Klee’s artistic development, from the highly detailed early works via tendencies towards abstraction and the discovery of colour, to the reduced pictorial language of the later work. Each decade of Klee’s artistic career is identified by a colour in the exhibition, allowing visitors to find their way intuitively around the space. Brief introductory texts, biographical photographs and films give deeper insights into the different phases of the work and Paul Klee’s engagement with the people around him.

Paul Klee

Doppel gesicht [Double face], 1933, 383

Coloured pastel and pencil on paper on cardboard

33 × 21 cm

Zentrum Paul Klee, Bern, donation of Livia Klee

Paul Klee

Spätes Glühen [Late Glowing], 1934, 29

Pastel on damask on cardboard

26,8 x 32,5/34,3 cm

Zentrum Paul Klee, Bern, donation of Livia Klee

Aside from his works, the Zentrum Paul Klee also preserves the artist’s archive. In the dynamic permanent exhibition, different treasures from the archive are presented, revealing the various aspects of Paul Klee’s life. His love of music is reflected in his record collection and the scores that Paul Klee, a gifted violinist, played from. Klee’s favourite music can be heard as part of a podcast in the exhibition. Parts of the artist’s collection of natural materials, including shells, stones and pages from herbariums, display Klee’s close relationship with nature and natural processes. Other objects include his watercolour box, his schoolbooks, scribbled over with drawings, as well as letters.

Curator: Fabienne Eggelhöfer

And Cover Star Klee, Paul Klee Artworks on Book Covers Exhibition, Through September 14, 2025.

ZENTRUM PAUL KLEE

Monument im Fruchtland 3, 3006 Bern 

zpk.org