Museum of Modern Art (New York, N.Y.)

Sarah J. S. Suzuki

Christophe Cherix

Kim Conaty

Catalog of an exhibition held at The Museum of Modern Art, New York, Feb. 19-May 14, 2012.

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David Platzker

Adrian Piper

Published in conjunction with the exhibition Adrian Piper: A Synthesis of Intuitions, 1965-2016, at The Museum of Modern Art, New York, March 31-July 22, 2018, traveling to Hammer Museum, Los Angeles, September 30, 2018-January 6, 2019, and Haus der Kunst, Berlin, April 12-September 22, 2019.

A Synthesis of Intuitions, 1965-2016

Julia Bryan-Wilson

Klaus Biesenbach

Jon Hendricks

Yoko Ono: One Woman Show, 19601971 examines the beginnings of Onos extensive career, demonstrating her pioneering role in visual art, performance and music during the 1960s and early 1970s. The exhibition begins in New York in December 1960, where Ono initiated a performance series with La Monte Young in her Chambers Street loft. Over the course of the decade, Ono earned international recognition, staging Cut Piece in Tokyo and Kyoto in 1964, exhibiting at the Indica Gallery in London in 1966, and launching her global War is Over! campaign in 1969. Ono returned to New York in the early 1970s and organized an unsanctioned one woman show at The Museum of Modern Art. Over forty years after Onos unofficial MoMA debut, the Museum will present its first exhibition dedicated exclusively to the artists work. The publication evaluates the broader cultural context of Onos early work and features five sections reflecting her geographic locations during this period and the corresponding evolution of her artistic practice. Each chapter includes an introduction written by a guest scholar, artwork descriptions, new interviews with key figures from the time, and a selection of primary documents culled from newspapers, magazines and journals.

One Woman Show, 1960-1971

Yoko Ono

New in MoMA's 'One on One' series, this book focuses on Betye Saar's Black Girl's Window (1969) and a selection of the artist's prints from the 1960s and early 1970s . Betye Saar made Black Girl's Window in 1969. It is a deeply autobiographical picture that alluded to her African-American heritage along with her interest in mysticism and astrology. The black girl named in the title appears in the lower half of this found window frame. The girl's facial features are hidden. The only thing there are these surprisingly bright blue eyes, which appear to open and close if you shift back and forth in front of it. The work encourages us to think about connections between eyes, that are often said to be windows on the soul, and pictures, that have been said to be windows on the world. Saar herself once said that she considers windows to represent a means of traveling from one level of consciousness to another. If you continue to look at the girl, you can see that her hands are covered with yellow and red symbols. Some of these same symbols, in particular the crescent moon and the stars, are echoed in the nine small vignettes created in the spaces outlined by the intersecting crossbars of her found window frame.

Christophe Cherix

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