A modern day Silk Road of sorts, the MoMA Design Store’s Destination: Design series will celebrate its 10th exploration this year with a product collection highlighting the best in contemporary Mexican design.

General Idea. Magi© Bullet. 1992. Installation of custom-shaped Mylar balloons, dimensions variable with installation. Edition: three. The Museum of Modern Art, New York. Gift of Mark Krayenhoff. © 2012 General Idea. Installation view of Print/Out at The Museum of Modern Art, 2012. Photo: John Wronn

“Visitors are invited to take balloons that have floated to the ground.”

Now that’s a label you don’t typically see on the walls of a museum! Magi© Bullet (1992), by the Canadian artist’s group General Idea, is an installation of silver helium balloons that fills the ceiling of an exhibition space.

Le Plaisir. 1952. France. Directed by Max Ophuls

Le Plaisir, like Charles Chaplin’s The Circus</a>, has suffered neglect over the years because it happens to be sandwiched in between two of its director’s most famous films.

Shaping molten glass in Art for Daredevils

One of the more viscerally exciting In the Making courses that we’re offering our teens this season is Art for Daredevils: Pranks, Tricks, and Death-Defying Stunts.

How well do you know your MoMA? If you think you can identify the artist and title of each of these works—all currently on view in the Painting and Sculpture, Architecture and Design, and Contemporary galleries—please submit your answers by leaving a comment on this post. We’ll provide the answers next month (on Friday, May 11).

Currently on view in the third-floor drawings galleries, Exquisite Corpses: Drawing and Disfiguration includes five works that belong to this titular category of collaborative creation. The “exquisite corpse” was a parlor game played by Surrealist artists and poets in Paris in the 1920s.

Games are a hot topic in museums at the moment. Yet the intersection between art and games is old news. From Marcel Duchamp’s chess obsession to Surrealist parlor games in the 1920s (see: Exquisite Corpse), to more contemporary projects

These notes accompany the screenings of Jean Renoir’s The River on April 11, 12, and 13 in Theater 3.

The River is the eighth Jean Renoir film I have shown in this series—more than any other director.

It was as if I had walked into the middle of a professional cliché: crouched in the musty attic of MoMA PS1, I sifted through beaten-up boxes of institutional flotsam. I was attempting to survey the remaining materials to be included in The Records of MoMA PS1, which will open to the public at the end of 2012.