Picasso: Guitars 1912-1914
The Museum of Modern Art, February 13-June 6, 2011

Produced by CK Studios, Inc.

© 2011 The Museum of Modern Art, New York

On Line: Drawing Through the Twentieth Century
The Museum of Modern Art, November 21, 2010-February 7, 2011

Images courtesy of the artist

© 2010 The Museum of Modern Art, New York

On Line: Drawing Through the Twentieth Century.
The Museum of Modern Art, November 21, 2010–February 7, 2011

Audio courtesy of Acoustiguide

© 2010 The Museum of Modern Art, New York

On Line: Drawing Through the Twentieth Century
The Museum of Modern Art, November 21, 2010-February 7, 2011

Images courtesy of the artist

© 2010 The Museum of Modern Art, New York

Picasso: Guitars 1912-1914
The Museum of Modern Art, February 13-June 6, 2011

Produced by CK Studios, Inc.

© 2011 The Museum of Modern Art, New York

How does an artist contribute his own personal story in the face of prevailing historical narratives? In this film, artist Rashid Johnson discusses the fluid nature of black identity in America and its escapist tendencies, from the Afrocentric politics of Marcus Garvey to the cosmic philosophy of Sun Ra. Johnson’s invented secret society—The New Negro Escapist Social and Athletic Club—is a framework through which the artist humorously upends, through repetition and juxtaposition, conventional expectations of historical influence and legacy.

How do we value objects? Why is some furniture relegated to the attic, while other furniture sells for hundreds of thousands of dollars? If a chair is deemed by art historians as having little monetary value, does that mean that the chair has no historic value? Professor Ned Cooke gives a short historiography seminar analyzing the values of both a chair and a stool.

Lee Ufan: Marking Infinity
June 24–September 28, 2011

Marking Infinity presents the work of artist-philosopher Lee Ufan, charting his creation of a visual, conceptual, and theoretical terrain that has radically expanded the possibilities for painting and sculpture since the 1960s. Lee is acclaimed for an innovative body of work that revolves around the notion of encounter—seeing the bare existence of what is actually before us and focusing on "the world as it is."