New York City offers a veritable cornucopia of museums, including the Metropolitan Museum of Art, the Museum Modern Art (MoMA) and the Brooklyn Museum. But the Solomon R. Guggenheim Museum is arguably the only one that shows art inside a work of art in its own right—or rather Wright, as we are talking about the Gugg’s famed nautilus shaped home on Fifth. Designed by original starchitect Frank Lloyd Wright, the building's stunning interior rotunda and oculus has made it one of the most iconic structures on the globe, though it also hosts a world-class collection of modern and contemporary art, as well as exhibits that include the annual Hugo Boss Prize show. There’s much more in store as you’ll discover by checking out our guide to the Guggenheim shows for fall and winter
RECOMMENDED: Full guide to the Museum of Modern Art
Guggenheim exhibits currently on view
Friend and colleague to Marcel Duchamp, Fernand Léger and Amedeo Modigliani, among others, Constantin Brancusi (1876–1957) was one of the seminal figures of modern sculpture. His marriage of folk motifs from his native Romania with abstract forms produce some of the masterpieces of 20th-century art. The Guggenheim dusts off it’s considerable holdings of Brancusi’s work for this show, which include the photos he shot of his own sculptures and studio surroundings—images that are as sublime as the sculpture for which he’s celebrated.
The years between Beijing's Tiananmen Square massacre of 1989 and the 2008 financial crises saw the rise of China as a global superpower whose emergence on the world stage was mirrored by the explosive growth of its contemporary art scene. This exhibit, the largest and most comprehensive of its kind to date, takes the measure of this period with a roundup of 150 works by more than 70 artists and art collectives from China.
In 1935, the famed artist and Bauhaus instructor Josef Albers (1888-1976) paid his first visit to Mexico. Struck by the abstract quality of Mayan and Aztec buildings, Albers began photographing Mesoamerican pyramids and temples, focusing on architectural details like friezes and steps. He used some of these images to create collages, borrowing subtle style cues from them for his paintings from the period. That journey was the first of many made to Latin America between 1935 and 1967 and the impact they had on his art is the subject of this survey, which gathers together the work (photos and collages along with paintings) that grew out his experiences South of The Border.
The Guggenheim presents the first comprehensive survey in the United States of Danh Vo, a Danish artist living in Berlin whose family fled his native Vietnam after the fall of Saigon in 1975 before eventually settling in Denmark. Over the past 15 years, Vo has assembled an ambitious body of work that examines the intersections of power, history and identity. Politically in scope yet personal in tone, Vo’s projects—based on deep research—combine found objects, documents and images into sculptural tableaux. He’s exhibited worldwide and was winner of the Guggenheim’s Hugo Boss Prize in 2012.
This exhibit is the last in a series presenting commissioned works from contemporary artists born in mainland China, Taiwan, Hong Kong and Macao. Previous editions of Chinese Art Initiative have included “Wang Jianwei: Time Temple” and the group show, “Tales of Our Time.”
Some 175 sculptures, paintings and drawings make up this comprehensive survey of Alberto Giacometti (1901–1966), the preeminent modernist best known for his distinctive figurative sculptures that emerged after the trauma and anguish of World War II—among them, a series of elongated standing women, striding men and expressive busts. The show, the first of its kind in 15 years, delves into Giacometti’s career (which spanned Cubism and Surrealism as well as his postwar Expressionistic work) and influences (which include African, Oceanic and Cycladic art).
Hilma af Klint (1862–1944) was a pioneer of abstract painting, though admittedly, something of an accidental one. Although she produced purely non-objective paintings well before the likes of Vassily Kandinsky or Kasimir Malevich, she created them as part of her involvement in occult and mystical practices that sought contact with the spirit realm. When Klint did exhibit, she mostly showed conventional portraits and landscapes. Nonetheless, there’s no denying that the Swedish artist anticipated one of the most important aesthetic revolutions in 20th-century art. This show takes the measure of her singular artistic achievement.