Guggenheim New York Announces 2024-2026 Schedule of Exhibitions

Upcoming ExhibitionsCollection in Focus | Beatriz Milhazes: Rigor and Beauty  Tower 5  March 7–September 7, 2025

Global contemporary artist Beatriz Milhazes (b. 1960, Rio de Janeiro) engages with her Brazilian cultural heritage and identity through the language of abstraction. This focused exhibition will present a group of fifteen paintings and works on paper from as early as 1995 to as late as 2023 drawn from the museum’s permanent collection and augmented by key loans, which together contextualize the broader narrative of her artistic evolution. Experimenting with materiality and process, Milhazes merges abstraction with representation and references motifs such as regional folklore, popular culture, decorative arts, nature, and spirituality. She draws inspiration from Brazilian and European modernists such as Tarsila do Amaral, Roberto Burle Marx, Henri Matisse, Piet Mondrian, and Bridget Riley as well as the aesthetics of international movements like geometric abstraction and Op Art.

In 1989 Milhazes developed an innovative technique she calls “monotransfer.” The artist begins her methodical process by painting forms onto clear plastic sheets. Once dry, she layers and adheres the painted films to the canvas one by one, building up her abstract compositions through the individual arrangement of these distinct motifs. Then she peels off the plastic sheets and reveals the forms in reverse. The act of painting is often unpredictable, and her canvases contain incomplete or faint structures formed by residual traces of paint, sometimes even gestures from previous works. Milhazes embraces these elements as acts of chance and improvisation, integrating them into newer pieces. The result is a densely textured composition with a harmonious interplay of vibrant colors, organic shapes, and geometric patterns, and a surface imbued with the memory of the artist’s actions.

Milhazes lives and works in Rio de Janeiro and recently participated in the 2024 Venice Biennale with a special project at the Pavilion of Applied Arts. She has had national and international solo exhibitions, including at Tate St Ives, Cornwall, England (2024), Turner Contemporary, Margate, England (2023), Museu de Arte de São Paulo Assis Chateaubriand (MASP) with Itaú Cultural, São Paulo (2020), the Jewish Museum, New York (2016), and Pérez Art Museum, Miami (2014).

This is the first presentation of the artist’s work at the Guggenheim and the second installment in the exhibition series Collection in Focus highlighting the museum’s permanent holdings. Beatriz Milhazes: Rigor and Beauty is organized by Geaninne Gutiérrez-Guimarães, Curator, Guggenheim Museum Bilbao and Solomon R. Guggenheim Museum and Foundation, New York.

The Guggenheim New York will present a major solo exhibition of work by Rashid Johnson, opening in April 2025. Encompassing the entirety of the museum’s rotunda, along with an outdoor sculpture, the exhibition will unfold through narrative themes, including social alienation, rebirth, and escapism, and offer a loose chronology of Johnson’s artistic evolution over the course of twenty-five years, from idealistic thinker to seasoned scholar. The show will be Johnson’s first solo presentation at the Guggenheim, his largest exhibition to date, and the first expansive museum survey of his work in more than a decade. Rashid Johnson was born in 1977 in Chicago and is currently based in New York. For nearly three decades, Johnson has cultivated a diverse body of work, drawing upon disciplines such as art history, philosophy, literature, and music as conceptual frameworks. Titled A Poem for Deep Thinkers, the exhibition takes its name from a poem by Amiri Baraka, an American poet, writer, teacher, and political activist whose work is a frequent source of inspiration for Johnson. Almost ninety artworks, including major site-specific installations, will represent pivotal phases of Johnson’s career, featuring notable series such as The New Negro Escapist Social and Athletic Club, the Cosmic Slops, black-soap shelf paintings, spray-painted text works, the more recent Anxious Men and Broken Men series. Johnson frequently returns to film and video throughout his career; the exhibition will also spotlight how integral moving images have been to his artistic trajectory. Through this multidisciplinary approach, Johnson has developed a distinct visual language that engages with the central themes, questions, and aesthetics of the contemporary era, such as race, masculinity, and the conditions of artmaking when conventions around medium and meaning have been exploded.

Accompanied by a robust monographic catalogue, the exhibition aims to showcase Johnson’s significant contributions to American art and his critical engagement with social and political discourse.

The exhibition is organized by Naomi Beckwith, the Guggenheim’s Deputy Director and Jennifer and David Stockman Chief Curator, and Andrea Karnes, Chief Curator, Modern Art Museum of Fort Worth, Texas, with additional support from Faith Hunter, Guggenheim Curatorial Assistant.

A Year with Children 2025 will feature works created by students in grades two through six participating in Learning Through Art (LTA), the Guggenheim’s artist-in-residence program in New York City public schools. LTA partners teaching artists with classroom educators in each of the city’s five boroughs to design projects that explore art and ideas related to their courses. In its fifty-fourth year, the program fosters curiosity, critical thinking, and ongoing collaborative investigations rooted in curricula, encouraging LTA students to embark on an in-depth examination of processes, materials, and techniques to express their artistic visions.

A Year with Children 2025 is organized by Dina Weiss, Director, School, Youth, and Family Programs and Michelle Wohlgemuth Cooper, Manager, School Partnerships.

In May 2025, the Guggenheim New York will present a Collection in Focus exhibition centering on one of the most important works by the renowned artist, writer, and activist Faith Ringgold (b. 1930, New York; d. 2024, Englewood, New Jersey). This presentation will spotlight Ringgold’s Woman on a Bridge #1 of 5: Tar Beach (1988), the first in a series of five monumental quilts that tell the story of a young girl who soars from her Harlem rooftop, celebrating her own freedom and self-possession.  

The exhibition will explore Ringgold’s artistic influences and the lasting impact she has had on subsequent generations of artists. Tar Beach will be contextualized within the broader narrative of modern and contemporary art, featuring works from the Guggenheim New York’s collection. The exhibition will also include pieces by European modernists such as Marc Chagall and Pablo Picasso, who directly inspired Ringgold, and contemporary American artists such as Tschabalala Self and Sanford Biggers, whose work reflects her legacy. 

Faith Ringgold is organized by Naomi Beckwith, Deputy Director and Jennifer and David Stockman Chief Curator. 

On July 25, 2025, the Guggenheim New York will open the fourth presentation in a series highlighting the museum’s permanent collection. Situated in the Tower 2 galleries, On End will feature sculptural works by an intergenerational group of artists working in freestanding vertical forms. Totemic sculptures by artists including Constantin Brancusi and Alberto Giacometti have become icons of twentieth-century modernism, defined by formal purity and monumental authority. Taking as its foundation Louise Bourgeois’s Personages (1945–55)—a series of wooden upright structures imbued with an intense psychological charge—this exhibition examines how artists in the postwar period have reimagined the simple abstract parameters of the monolith, infusing it with material experimentation, emotional content, and cultural critique. 

On End is organized by Katherine Brinson, Daskalopoulos Curator, Contemporary Art.  

In September 2025, the Guggenheim New York will present selections from the Elizabeth R. and Michael M. Rea Collection as part of the Collection in Focus exhibition series. Over the course of thirty years, Elizabeth R. and Michael M. Rea built a collection centered on many of the preeminent artists of the twentieth century.  This collection, donated to the Guggenheim in 2023, includes distinctive canvases by Jacob Lawrence, Ad Reinhardt, and Anne Truitt, as well as a wealth of works on paper, by artists like Alberto Giacometti, Roy Lichtenstein, and Yves Tanguy. This exhibition will offer the opportunity to see more than thirty works from this gift for the first time since they entered the museum’s holdings. 

The Rea Collection is organized by Richard Armstrong, Director Emeritus of the Solomon R. Guggenheim Museum and Foundation, and David Horowitz, Assistant Curator. 

 The Guggenheim New York is planning the first monographic exhibition at a New York museum on the German artist Gabriele Münter (b. 1877, Berlin; d. 1962, Murnau am Staffelsee, Germany), nearly thirty years since Münter’s last US exhibition tour. Münter was a critical figure in the advancement of modernism in Europe in the early twentieth century. At the time, German public art academies excluded women, so she forged her own path to an artistic education, eventually positioning herself at the forefront of experimental activity centered in Munich and nearby Murnau am Staffelsee.  

Münter was notably associated with the formation of Der Blaue Reiter, the transnational confederation of progressive artists, writers, and musicians who probed in diverse ways the expressive potential of color and the symbolic, and often spiritual, resonance of forms. She subsequently spent the years of World War I in Scandinavia, prompting a rich exchange with Nordic modernisms that resulted in shifts in her artistic practice and allegiances. With her bold planes of vibrant colors, Münter reimagined the traditional genres of still life, landscape, and portraiture and presented an alternative to concurrent innovations in radical abstraction. The artist later explained, “When I begin to paint, it’s like leaping suddenly into deep waters, and I never know beforehand whether I will be able to swim.”  

Gabriele Münter: Into Deep Waters will focus on the artist’s heightened expressionist production from around 1908 to 1920 while also highlighting her later developments. It will comprise some sixty paintings and more than a dozen of her early photographs displayed across three galleries. This landmark exhibition and its accompanying catalogue will not only illuminate Münter’s disruptive and understudied practice but also challenge accepted historical narratives that have sidelined women artists. 

 Gabriele Münter: Into Deep Waters is organized by Megan Fontanella, Curator, Modern Art and Provenance. The photography selection is cocurated with Victoria Horrocks, Curatorial Fellow, Photography. 

The Guggenheim is grateful for the support of the Gabriele Münter and Johannes Eichner Foundation, Munich, and the Lenbachhaus, Munich. 

The Solomon R. Guggenheim Museum presents Harmony and Dissonance: Orphism in Paris, 1910–1930, the first in-depth examination of Orphism, which emerged in Paris among a cosmopolitan group of artists in the early 1910s—when changes brought on by modernity were radically altering notions of time and space. The presentation features over 80 artworks comprising painting, sculpture, works on paper, and ephemera, installed across five levels of the museum’s spiral rotunda. 

The poet Guillaume Apollinaire coined the term “Orphism” in 1912 to describe artists who were moving away from Cubism toward an abstract, multisensory mode of expression. Associated artists such as Robert Delaunay, Sonia Delaunay, František Kupka, and Francis Picabia created kaleidoscopic compositions that captured the simultaneity of modern life. Some investigated chromatic consonances and contrasts in their prismatic works, while others engaged with the rhythms and syncopations of popular music and dance. They drew inspiration from Neo-Impressionism’s color theory and the Blue Rider group’s philosophies. When pushed to its limits, Orphism meant total abstraction. 

Alongside the formal harmony and dissonance related to color and sound that underpins Orphist compositions, the exhibition reveals sociocultural corollaries sparked by transnationalism, or the connections that greater mobility fostered between artists from myriad countries who converged in Paris, as well as the tensions that geographic and cultural dislocations could engender.   

During the run of Harmony and Dissonance, the rotunda’s top level has been activated as a space for rest and contemplation. Collectively named Sixth Stanza, the installation features two recent museum projects that connect poetry and visual art. 

Harmony and Dissonance: Orphism in Paris, 1910–1930 is organized by Tracey Bashkoff, Senior Director of Collections and Senior Curator, and Vivien Greene, Senior Curator, 19th- and Early 20th-Century Art, with the support of Bellara Huang, Curatorial Assistant, Exhibitions. 

From November 22, 2024, through April 20, 2025, the Guggenheim New York presents a selection of paintings and drawings by Piet Mondrian (b. 1872, Amersfoort, Netherlands; d. 1944, New York) from its singular collection, one of the most representative in the world. Piet Mondrian: Ever further traces the steady evolution of Mondrian’s art, from his early nature drawings in the Netherlands through his turn to radical abstraction in Paris, which continued into his final years in New York. The exhibition reveals the artist’s life-long pursuit to move painting “ever further” away from the representation of nature to render a universal essence or spirit behind the appearances of the world. Showcasing 18 works, including two rare sketchbooks and a key loan from the Clark Art Institute, together for the first time, the exhibition provides a comprehensive narrative of Mondrian’s artistic path. 

Piet Mondrian: Ever further is the first in a new exhibition series, Collection in Focus, that draws from the Guggenheim’s collection. The series is part of a reinvigorated effort to make the Guggenheim’s world-renowned holdings more accessible to the public. 

Mondrian dedicated his life’s work to the development of abstract art. It took him years to arrive at his signature compositions, in which horizontal and vertical black lines form right-angled panes filled with shades of white and black and the primary colors red, yellow, and blue. Crafted to resist any illusion of depth, these paintings were a revelation when first introduced, and today are recognized around the world. Through his involvement with the design and art movement known as De Stijl (The Style), Mondrian communicated that abstract painting could be a blueprint for modern life, urbanized, and ever further removed from nature. Over the decades, his ideas have spawned design innovations and branding that vastly exceeded his intent, from furniture and fashion to hotels and even software. 

Piet Mondrian: Ever further is organized by Mariët Westermann, Director and CEO, Solomon R. Guggenheim Museum and Foundation. 

One of the most salient features of contemporary art is the tendency, and desire, to abandon traditional creative practice, enacting both literal and figurative experimentations beyond the studio. The Guggenheim presents By Way Of: Material and Motion in the Guggenheim Collection, an exhibition that examines artists on the move, demonstrating how saturated contemporary art has become with extramural modes of thinking and working. 

Spanning the 1960s to the present day, the exhibition offers a suite of artworks from the museum’s permanent collection and is particularly inspired by a recent gift from the D.Daskalopoulos Collection. Major names from the Arte Povera movement of the 1960s and 1970s like Jannis Kounellis and Mario Merz share the stage with contemporary figures, such as Mona Hatoum, Rashid Johnson, and Senga Nengudi. Their makings are grounded in a feeling of immanence, a full sensory experience, and an awareness of place, even if, at times, the artist seeks to make an escape elsewhere. 

By Way Of: Material and Motion in the Guggenheim Collection is organized by Naomi Beckwith, Deputy Director and Jennifer and David Stockman Chief Curator. 

The Thannhauser Collection, formed by the German-Jewish art dealer and collector Justin K. Thannhauser, includes important late nineteenth- and early twentieth-century paintings, works on paper, and sculpture by groundbreaking artists such as Paul Cézanne, Édouard Manet, and Vincent van Gogh. It was during this critical period—as artists sought to liberate art from academic genres and introduce contemporary subject matter—that the avant-garde investigated novel materials and methods, setting the stage for the development of radical new styles.  

 The Thannhauser Collection is organized by Megan Fontanella, Curator, Modern Art and Provenance. 

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About the Solomon R. Guggenheim Museum 

The Solomon R. Guggenheim Foundation was established in 1937 and is dedicated to promoting the understanding and appreciation of modern and contemporary art through exhibitions, education programs, research initiatives, and publications. The international constellation of museums includes the Solomon R. Guggenheim Museum, New York; the Peggy Guggenheim Collection, Venice; the Guggenheim Museum Bilbao; and the future Guggenheim Abu Dhabi. An architectural icon and “temple of spirit” where radical art and architecture meet, the Solomon R. Guggenheim Museum is now among a group of eight Frank Lloyd Wright structures in the United States recently designated as a UNESCO World Heritage site. To learn more about the museum and the Guggenheim’s activities around the world, visit guggenheim.org. 

Support 

Lead support for Harmony and Dissonance: Orphism in Paris, 1910-1930 is provided by ALAÏA. The Leadership Committee is gratefully acknowledged for its generosity, with special thanks to Oded Halahmy Foundation for the Arts, Inc., Natasha and François-Xavier de Mallmann, Judy and Leonard Lauder, Per J. Skarstedt, Peter Bentley Brandt, and Aaron I. Fleischman and Lin Lougheed. Support is also generously provided by The Kate Cassidy Foundation and The David Berg Foundation. Additional funding is provided by the Solomon R. Guggenheim Museum’s Collections Council, the Curators Circle, and the International Director’s Council. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. 

Piet Mondrian: Ever further is supported by the Consulate General of the Netherlands in New York, as part of the Dutch Culture USA FUTURE 400 program. Denise and Andrew Saul are gratefully acknowledged for their generous support. 

Lead support for Rashid Johnson: A Poem for Deep Thinkers is provided by the Ford Foundation. Major support is provided by Neuberger Berman. Visionary support is provided by Hilarie and Mitchell Morgan, Edlis-Neeson Foundation, and Daniel Xu and Flora Huang. The Leadership Committee for this exhibition is gratefully acknowledged for its generosity, with special thanks to Hauser & Wirth, David Kordansky Gallery, Justin Bayless, Nancy and Steve Crown, Natasha and Françoise-Xavier de Mallmann, The George Economou Collection, Anton J. Levy, and Jennifer and Alec Litowitz. Additional leadership funding is provided by Candace and Michael Barasch, Allison and Larry Berg, Mahshid and Jamshid Ehsani, Alex and Greg Mondre, Tiqui Atencio Demirdjian and Ago Demirdjian, Nicola Erni Collection, Katherine Farley and Jerry I. Speyer, The Forman Family Collection, Paul and Dedrea Gray, Stephanie and Tim Ingrassia, Kathy and Mitchell Jacobson, Paul Judelson, Amanda Precourt, Gary Steele and Steven Rice, George Wells and Manfred Rantner, Debi and Steven Wisch, Marilyn and Larry Fields, Bernard I. Lumpkin and Carmine D. Boccuzzi, Jessica and Brian Robinson, and Ann and Mel Schaffer. Support is also generously provided by The Kate Cassidy Foundation, The Robert Lehman Foundation, and The Jacques and Natasha Gelman Foundation. Additional funding is provided by the Solomon R. Guggenheim Museum’s International Director’s Council. Yamaha Piano provided by Yamaha Artist Services New York. 

Learning Through Art and A Year with Children 2025 are generously supported by Lavazza Group and the New York City Department of Cultural Affairs in Partnership with the City Council. Additional funding is provided by Wendy Fisher; The Keith Haring Foundation; Guggenheim Partners, LLC; Gail May Engelberg and The Engelberg Foundation; Libby and Daniel Goldring; The Horace W. Goldsmith Foundation; Anna Kovner and Seth Meisel; JPMorgan Chase & Co.; The Milton & Sally Avery Arts Foundation, Inc.; Con Edison. The Leadership Committee for Learning Through Art and A Year with Children 2025 is gratefully acknowledged for its support. 

Funding for By Way Of: Material and Motion in the Guggenheim Collection is generously provided by the Solomon R. Guggenheim Museum’s Collections Council.