René Magritte. The Menaced Assassin. Brussels, 1927. Oil on canvas, 59 1/4″ × 6′ 4 7/8″ (150.4 × 195.2 cm). The Museum of Modern Art. Kay Sage Tanguy Fund. © 2013 Charly Herscovici, Brussels/Artists Rights Society (ARS), New York

This exhibition, co-organized by The Museum of Modern Art, The Menil Collection, Houston, and The Art Institute of Chicago, is the first to focus exclusively on the breakthrough Surrealist years of René Magritte, creator of some of the 20th century’s most extraordinary images. Beginning in 1926, when Magritte first aimed to create paintings that would, in his words, “challenge the real world,” and concluding in 1938—a historically and biographically significant moment just prior to the outbreak of World War II—the exhibition traces central strategies and themes from the most inventive and experimental period in the artist’s prolific career. Displacement, transformation, metamorphosis, the “misnaming” of objects, and the representation of visions seen in half-waking states are among Magritte’s innovative image-making tactics during these essential years.

Bringing together some 80 paintings, collages, and objects, along with a selection of photographs, periodicals, and early commercial work, the exhibition offers fresh insight into Magritte’s identity as a modern painter and Surrealist artist. A richly illustrated catalogue accompanies the exhibition.

This exhibition is organized by The Museum of Modern Art, The Menil Collection, and The Art Institute of Chicago. The exhibition at MoMA is organized by Anne Umland, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture, with Danielle Johnson, Curatorial Assistant, Department of Painting and Sculpture.

Bank of America is the National Sponsor of Magritte: The Mystery of the Ordinary, 1926–1938.

Major support for the MoMA presentation is provided by the American Friends of Magritte, Inc., and by The International Council of The Museum of Modern Art.

Additional funding is provided by the MoMA Annual Exhibition Fund.

This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Support for the accompanying publication is provided by Charly Herscovici.

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