One of the most exciting features of the Cindy Sherman exhibition is Sherman’s photographic mural, which is making its North American premiere at MoMA.

This week’s Ten-Minute Talk features Andrew Beccone, founder and director of the Reanimation Library.

Works are posted on the dotted panels that span the Print Studio walls and column.

Interested in making something at <a href="http://www.moma.org/visit/calendar/exhibitions/1227" target=blank">Print Studio</a> but don’t know where to start? Try creating a work incorporating this month’s <a href="http://www.moma.org/explore/inside_out/2012/02/13/ten-minute-talk-collective-task-at-print-studio/" target=blank">Collective</a> <a href="http://www.moma.org/visit/calendar/events/14415" target=blank">Task</a>, adapted from artist Lisa Sanditz’s original task: Make something while honoring the spirit of Freecycle. That is, all materials used in the project must be used, borrowed and bartered.

Though we enjoy the futuristic music of Kraftwerk and the photographs of Cindy Sherman, employees at MoMA are also enjoying the delicate, antique charms of Downton Abbey. In many ways, the themes of the series reflect a lot of the wild beginnings of modern art.

Keith Haring. Untitled. 1982. Ink on two sheets of paper, sheet: 72 x 671 1/2" (182.9 x 1705.6 cm). The Museum of Modern Art, New York. Gift of the Estate of Keith Haring, Inc. © 2012 The Keith Haring Foundation

The monumental 1982 Keith Haring drawing Untitled is not often on view, so its inclusion in the Museum’s current installation Contemporary Galleries: 1980–Now seems like an ideal opportunity to think about how this artist’s iconic visual language fits into the larger story of 20th-century art.

Nicholas Ruiz. Lego Tie, created for The Armory Party 2011. Image courtesy Dirty Sugar Photo

Do you wear it or hang it?

“The choice is really yours,” said Nicholas Ruiz, as we chatted over chocolate chip cookies in MoMA’s Cafe 2. He was referring to the 11 bow ties in The Bow Tie Collection

Maybe this is obvious, but it was news to me: MoMA is a ridiculously romantic place. Museum visitors are falling in love, getting engaged, checking each other out, celebrating their anniversaries, and more, all over the place around here.

Installation view of James Rosenquist: F-111 (1964-65) at MoMA. Oil on canvas with aluminum, 23 sections. 10 x 86’ (304.8 x 2621.3 cm). Gift of Mr. and Mrs. Alex L. Hillman and Lillie P.Bliss Bequest, both by exchange. © 2012 James Rosenquist/Licensed by VAGA, New York, NY. Photo by Jonathan Muzikar

A special installation recently opened at MoMA of James Rosenquist’s F-111, an 86-foot-long painting that the artist designed to extend around all four walls of the Leo Castelli Gallery, at 4 East 77 Street in Manhattan.

This week at Print Studio, we invite you to participate in the first of three public programs organized by Triple Canopy as part of a series called Miscellaneous Uncatalogued Material that “explores the evolution of print-based artwork in recent decades, from the revival of traditional techniques to the employment of new digital technologies.”

As part of Print Studio, we offer a weekly series of short talks focusing on issues related to the medium of print and the sustainability of ideas within the context of modern and contemporary art. During these Ten-Minute Talks, a variety of MoMA staff—from conservators to librarians and archivists—as well as guest artists and educators, share their expertise, offering insight on a variety of topics and a special behind-the-scenes look at MoMA’s engagement with the medium of print and selected Print Studio projects.

This week poet Robert Fitterman discusses the ongoing Collective Task project and its re-imagined version for Print Studio. In this entertaining video, Fitterman is in conversation with Lanny Jordan Jackson, the current curator of the Collective Task project.

We encourage you to create a print in response to this week’s task, adapted from Lisa Sanditz’s original task:  “Make something while honoring the spirit of Freecycle. That is, all materials used in the project must be used, borrowed and bartered.”