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Meet the Director

About the Whitney

As the preeminent institution devoted to the art of the United States, the Whitney Museum of American Art presents the full range of twentieth-century and contemporary American art, with a special focus on works by living artists. The Whitney is dedicated to collecting, preserving, interpreting, and exhibiting American art, and its collection—arguably the finest holding of twentieth-century American art in the world—is the Museum's key resource. The Museum's signature exhibition, the Biennial, is the country's leading survey of the most recent developments in American art.

Innovation has been a hallmark of the Whitney since its beginnings. It was the first museum dedicated to the work of living American artists and the first New York museum to present a major exhibition of a video artist (Nam June Paik in 1982). Such figures as Jasper Johns, Cy Twombly, and Cindy Sherman were given their first museum retrospectives by the Whitney. The Museum has consistently purchased works within the year they were created, often well before the artists became broadly recognized. The Whitney was the first museum to take its exhibitions and programming beyond its walls by establishing corporate-funded branch facilities, and the first museum to undertake a program of collection-sharing (with the San Jose Museum of Art) in order to increase access to its renowned collection.

Designed by architect Renzo Piano and situated between the High Line and the Hudson River, the Whitney's new building vastly increases the Museum’s exhibition and programming space, providing the most expansive view ever of its unsurpassed collection of modern and contemporary American art.

Programmed: Rules, Codes, and Choreographies in Art, 1965–2018

Solo en Inglès

Read transcripts for audio and video works with sound in this exhibition.

Nam June Paik, Fin de Siecle II, 1989

Running time: ongoing

Sounds include: A compilation of various songs and sounds intercut and interrupting one another as videos transition, such as “Musique Non-Stop” by Kraftwerk, a rendition of samba song “Kizomba, Festa Da Raça,” “Look Back in Anger” by David Bowie, 1980s synth tones, nondescript chatter layered over ascending tones and the chug of engines, and spotty audio of Joseph Beuys’s muffled screams and grunts interspersed with harsh and heavy piano keys.