Yoshitomo Nara. Don’t say goodbye. 1992–2000. Pencil on graph paper, 8 1/4 x 5 3/4″ (21 x 14.6 cm). Gift of David Teiger in honor of Agnes Gund. © 2016 Yoshitomo Nara

Inside/Out readers, it has been a great run. Now it’s time to start something new.

After seven terrific years, we are ceasing production on Inside/Out to focus our energies on a forthcoming MoMA publication on Medium. That publication, featuring longer-form articles about the artists, ideas, movements, techniques, and disciplines that continue to shape global art and culture, will debut in mid-October, so please stay tuned for more details.

Rest assured that existing posts aren’t going anywhere, but no new articles will appear on Inside/Out moving forward.

We are sincerely grateful to all of our readers, and especially to those who have shared comments, corrections, and encouragement over the years. We hope to see all of you next month on Medium.

Elizabeth Riggle has been a full-time preparator at the Museum for 16 years (not counting the four years she was a temporary employee). Selflessly, Elizabeth gives her all to make every part of the exhibitions she works on perfect. Her attention to detail comes through in her lush, flowing, painterly works that mine an array of forms including flowers, bones, or comic book characters. A freedom of movement, play, and rich palettes happily seduce the viewer. Immerse yourself!

MoMA: When are you able to work on your artwork?
I live like I’m in the military. I have to be rigorous about my schedule weekends are not weekends. True for a lot of us in this position.

What is the best and worst part of being an artist working at the Museum?

Mark has been a full-time preparator at the Museum for 22 years, as well as a practicing artist for over 40 years. He has exhibited extensively in the United States, Europe, and most recently in Asia. Mark’s unassuming, sweet demeanor belies an intelligent, articulate, and committed painter who has not shied away from experimenting and pushing his work in new directions. Take a look.

All artwork by Mark Williams. Beat. 1994. Acrylic on wood, 8” x 32”. “This is the first painting I made when I changed the guidelines of my art making.”

MoMA: When are you able to work on your artwork?
Evenings and weekends; I’m pretty disciplined about that. I look at each coming week and pencil in studio time. There is always something I can do even if it is 5 to 10 minutes. If I looked for the perfect block of time it would make it prohibitive to get any work done.

What is the best and worst part of being an artist working at the Museum?

Stored away between the paintings and sculptures in MoMA’s storage facility lay a forgotten treasure from the Museum’s past: 11 disassembled pieces of the original stretcher from a Pablo Picasso masterpiece. Museum registrars rediscovered the group of stretcher bars during routine organization earlier this year, and since stretchers are occasionally replaced to ensure that a canvas is adequately supported, the discovery did not immediately strike them as significant. However, the large size and design of the parts of one stretcher were very unusual.

In 2014 MoMA added Google Cardboard to its design collection. Earlier this year the Department of Film organized Slithering Screens, which highlighted notable projects such as James George’s and Jonathan Minard’s documentary Clouds and Lynette Walworth’s virtual-reality film Collisions (2016). But aside from these forays into virtual reality, not much else has been organized at the Museum (or most other art museums) around the burgeoning technology.

Fairchild Aerial Surveys. Fairchild Plant, N.Y. 1949. New York State Archive

Aerial Imagery in Print, 1860 to Today, the current MoMA Library exhibition, examines the use of traditional publishing in cultivating a discourse around aerial imagery.

A section of the show focuses on 20th-century popularization of aerial photography, including its development as a tool for land use by architects, developers, governments, and the agriculture industry. Looking at some of these uses more closely reveals a persuasive element, especially regarding subtle debate about modernist approaches to architecture and planning.

Kameelah Janan Rasheed leads Agora, How Will Art Solve Problems?, Wednesday July 6, 2016.
Photo: Manuel Martagon. © 2016 The Museum of Modern Art, New York

As part of the July 6 Agora series, I had the privilege of hosting a conversation with attendees addressing the question: How Will Art Solve Problems?

“Sometimes I sing and dance around the house in my underwear. Doesn’t make me Madonna.” – Joan Cusack in Mike Nichols’s Working Girl (1988)

Madonna doesn’t need much of an introduction.

This weekend marks the penultimate Saturday of the 2016 Warm Up season!

Powell, Russell Haswell, and Not Waving of Diagonal Records will start the day, followed by a thrilling set by Marcus Marr, a regular at Berlin’s famed nightclub Berghain, and exciting indie electronic sounds by Hot Chip. The day culminates in a set by UK-based DJs Joy Orbison and Ben UFO.

Welcome to the final installment of the Do You Know Your MoMA? quiz!

How well do you know your MoMA? If you think you can identify the artist and title of these works from MoMA’s collection—all currently on view in the Museum—please submit your answers in the comments. We’ll provide the answers next week in an update to this post. Good luck!