Open Ends
September 28, 2000–March 4, 2001

Open Ends, the final cycle of the MoMA2000 exhibitions, explores the period from 1960 to the present, an era that has seen unprecedented cross-pollination among traditional and new artistic mediums and the questioning of conventional boundaries. Open Ends presents an especially varied range of objects, images, and room-sized installations, allowing extra space for the larger scale of many contemporary works. Open Ends includes several distinct exhibitions examining key themes and lines of affinity that have defined the art and the era.

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Projects 70: Janine Antoni, Shahzia Sikander, Kara Walker
Through March 13
Museum Facade

The final cycle of banner exhibitions features designs by three women artists. The banners are displayed on the Museum's Fifty-third Street facade.

Organized by Fereshteh Daftari, Assistant Curator, Department of Painting and Sculpture. The Projects series is sponsored by Peter Norton.

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The Long View
At The Municipal Art Society Urban Center
October 5–December 9, 2000

The Museum of Modern Art and The Municipal Art Society of New York collaborate on a series of five two-week exhibitions featuring current projects by young architectural firms. SHoP/Sharples Holden Pasquarelli explores new techniques of digital design (October 5-14); UN Studio/Van Berkel & Bos presents plans for Transfer Zone Arnhem, which integrates transportation systems, shopping, and housing into a unified, multi-level urban development (October 20-28); Michael Maltzan presents models and drawings for MoMA's new Long Island City facility (November 2-11); Reiser + Umemoto exhibit several projects including their competition entry for the Graz Music Theater (November 16-25); and Foreign Office Architects presents the Yokohama International Port Terminal design (November 30-December 9).

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Projects 70: Jim Hodges, Beatriz Milhazes, Faith Ringgold
August 29–October 31, 2000

Continuing the cycle of banner exhibitions, this series shifts the emphasis from written text to craft, traditionally a woman's province. Jim Hodges pursues love's trajectory from its inception in the constellations to a golden field on the other side where it resonates to the sounds of wind chimes. The banner by the Brazilian artist Beatriz Milhazes operates with a different pulse; it throbs with the heated sensuality of a swirling curvaceous ornament. Faith Ringgold's banner, based on her 1991 quilt Matisse's Chapel, invites a different kind of reflection on race and gender. Poetic, sensuous, and political, the banners reflect each artist's sensibility and beliefs.

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Projects 69: Julia Jacquette
November 22, 1999–January 1, 2001

Since 1990, New York-based artist Julia Jacquette has been creating paintings about romance and desire. Her images of all-American food dishes juxtaposed with erotic phrases that play on common culinary adages, are playful and provocative metaphors for the relationship between eating, sexuality, and gender identity. For Projects 69, Jacquette designed a series of paper products, including plates, cups, and napkins, printed with original imagery and text. Available in MoMA's Café/Etc., museum visitors can eat and drink from these works, providing a direct encounter with the issues explored.

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Making Choices
March 16–September 26, 2000

The second cycle of MoMA2000 exhibitions focuses on the years between 1920 and 1960, a period of social and political turmoil and spirited debate. As original visions of modern art matured, they simultaneously provoked dissenting reactions and spawned parallel experiments in a variety of mediums. Faced with competing opportunities and imperatives, artists were obliged to make choices. To emphasize the contentions and vital complexities of modern art's middle years, Making Choices juxtaposes twenty-four distinct exhibitions, which vary widely in scale, principle of selection, and style of display.

View the online exhibition Modern Art Despite Modernism