Jana Euler, Morecorn 5, 2021. Acrylic on canvas, artist's frame, 65 1/2 x 49 3/4 x 2 3/8 inches (166.4 x 126.4 x 6 cm)

Greene Naftali artists on view at MoMA | Ongoing
Museum of Modern Art, New York

JANA EULER in Collection 1980s–Present | Gallery 215

Juler's 2021 work Morecorn 5 is on view at MoMA's gallery 215, in a group presentation of works titled "Clandestine Knowledge."

From the Museum:

Across generations and geographies, women have informally passed on clandestine forms of knowledge—whether life-sustaining wisdom like foraging and gardening or psychic explorations into other dimensions—through whispered words, material objects, images, and, more recently, the Internet. The need to do so covertly came from the danger women throughout history risked when these practices, often tools for self-empowerment, were considered a threat to reigning patriarchal and religious orders—as witnessed, for instance, during the European witch hunts of the Early Modern period. The practice of spiritualism and alternative ways of understanding the world find new form and relevance in the works assembled here, which span from the early 20th century to the present and reference imagery from the natural world, mythology, and the occult.

Walter Price, Races on the sea, 2023, Acrylic and gesso on canvas, 67 1/2 x 105 inches (171 x 266 cm)

WALTER PRICE in Collection: 1970s–Present | Gallery 209

Price’s 2020–21 painting Races on the Sea is now on view in MoMA’s gallery 209, in a group presentation titled “Objects of Desire.”

From the museum:

“Touching on themes of legibility and identity, the artworks in this gallery pose the question: What roles do desire and history play in how we understand and recognize each other? Drawing from literary texts, personal narratives, and references from the past, the artists on view here transform their sources to consider the promise of human relationships and reflect on the pain of fraught histories—particularly around Blackness. These acts of transformation open up a spectrum of experiences, as well as invite viewers to bring their own desires to the experience of looking."

Michael Smith, Installation view, Gallery 204, Museum of Modern Art, New York, 2024. Image courtesy the artist and The Museum of Modern Art, New York

MICHAEL SMITH in Collection: 1970s–Present | Gallery 204

Smith's 1983 work Government Approved Home Fallout Shelter Snack Bar is on view in MoMA's gallery 204.

From the Museum:

“For over four decades, Michael Smith has produced videos, performances, and installations that feature his hapless middle-class persona, Mike, as a means of examining American culture and media. This work is based on a US government plan—issued in 1980, against the backdrop of Reagan-era Cold War politics—for a home fallout shelter that doubles as a snack bar. In Smith’s vision, Mike’s bunker, built in his suburban basement, is overstocked with ‘survival ration crackers’ and canned food, as well as records, games, an easy chair, and liquor bottles.

This environment underscores the absurdity of pursuing recreation and leisure while living under the threat of annihilation. Mike appears in drawings, the video playing on the television, and an arcade game (one of the first created by a visual artist) in which he repeatedly carries cinder blocks down stairs to construct the shelter before the ‘big one drops.’ A metaphor for nuclear war, the game is programmed to be unwinnable.


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