Markus Freitag and Daniel Freitag. Top Cat Bag (model F13). 1993. Used truck tarpaulins, seatbelts, and innertubes). Manufactured by Freitag, Zurich, Switzerland. The Museum of Modern Art. Gift of Lars Müller

As the Architecture and Design Objects Preparator, it’s not unusual for me to catch people in the galleries pointing at an object I’ve installed, saying something like, “I have one of those.” I suspect you’re not likely to hear this very often in the Painting and Sculpture Galleries, but it happens all the time on the third floor.

Kathleen Hanna, Billy Karren, Tobi Vail, Kathi Wilcox. Bikini Kill: A Color and Activity Book, no. 1. 1991. Photocopy; cover by Hanna.

During the world premiere of  Who Took the Bomp? Le Tigre on Tour, which we screened in April in conjunction with Looking at Music: 3.0, we got a great response to the riot grrrl fan zines in the exhibition.

The Maltese Falcon. 1941. USA. Directed by John Huston

These notes accompany the screenings of John Huston’s </i>The Maltese Falcon</a> on May 18 (in Theater 2), 19 (Theater 3), and 20 (Theater 2).</p>

John Huston (1906–1987) has always been something of an enigma to me. The director of The Maltese Falcon, The Treasure of the Sierra Madre, Key Largo, The Asphalt Jungle, The Red Badge of Courage, The African Queen, and late-career gems like The Man Who Would Be King, Prizzi’s Honor, and The Dead</a> is too formidable to be dismissed out of hand. Yet there are too many instances where Huston seems to fail to be engaged or, over his two-decade-long middle period, seems blatantly frivolous.

Oliver Sacks, Ted Muehling, Abelardo Morell. The Island of Rota. 2010. Photograph by Lauren McAlpin

I have the privilege and challenge of working with artists and other collaborators to produce artist’s books for The Library Council of The Museum of Modern Art.  These limited-edition publications are intended to explore the art of the book as they benefit and shed light on MoMA’s research collections.

Tina Barney. Mr. and Mrs. Castelli, W Magazine. 1998. Chromogenic color print, printed 2010. The Museum of Modern Art. Acquired through the generosity of Jo Carole and Ronald S. Lauder. © 2011 Tina Barney

We reinstall the permanent collection in the first five rooms of The Edward Steichen Photography galleries at least once a year, in order to continuously have on view a selection of outstanding works from the Museum’s collection. Each new display is organized differently, but all of them aim to suggest the vitality and richness of photography’s creative traditions.

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 Museum’s Painting and Sculpture and Architecture and Design galleries—please submit your answers by leaving a comment on this post. We’ll provide the answers—along with some information about each work—in one month (on Friday, June 10).

ANSWERS TO THE APRIL 15 CHALLENGE:

Installation view of 26.05.2009, 8:43. 2009. Chandelier from the former ballroom of the Hotel Majestic, Paris, dimensions variable. The Museum of Modern Art. Gift of The Contemporary Arts Council of The Museum of Modern Art and the Fund for the Twenty-First Century. © 2011 Danh Vo

Upon entering the first room of The Paul J. Sachs Drawings Galleries, where the exhibition I Am Still Alive: Politics and Everyday Life in Contemporary Drawing is currently on view, visitors will encounter a crystal chandelier methodically disassembled and laid out in pieces directly on the floor.

Laura Levine. Afrika Bambaataa, NYC. 1983. Gelatin silver print. Image courtesy of the artist

With so much talk of royalty in the air, it’s fitting that this week we salute another monarch: Afrika Bambaataa, the king of electro funk and godfather of hip-hop. In Looking at Music: 3.0 we feature “Planet Rock,” the influential 80’s disco hit he made with the Soulsonic Force. Although Kool DJ Herc is credited with creating hip-hop’s signature sound, specifically the “break,” or extended instrumental beat, it was Afrika Bambaataa who pushed hip-hop into new territory as both a musical style and a cultural movement.

Many of the “I went to MoMA and…” responses are attempts to fit very big thoughts and feelings onto 3×6-inch cards. Here on a midtown block in an often cynical city, deeply felt sentiments and words like floating, dreaming, beauty, connection, and soul seem to be on people’s minds.

The Department of Education has a long history of working with an array of audiences in its mission to make the collection accessible to people of all abilities, backgrounds, and ages. Over the years we’ve come to recognize what a major part of the Museum audience senior citizens are—which makes sense since, according to statistics from the American Association of Retired Persons, individuals age 65 and over constitute one of the fastest growing segments of the U.S. population.