As we head into the Thanksgiving holiday this week, the blog will be on hiatus until Monday, November 30. But before we sign off here’s a round-up of what to see and do when you’re not eating turkey, watching football, or bargain shopping.

Francis Bacon’s Painting (1946), which is currently on view in the exhibition Solider, Spectre, Shaman: The Figure and the Second World War, came into MoMA’s paintings conservation studio in early 2015, after we received a request for an X-ray.

Like most children growing up in the last half of the 20th century, I dreamed of a 64-count box of Crayola crayons. In school we had eight-count boxes. I wanted 64—all the myriad colors including bittersweet, sky blue, and raw umber. The 64-count box also had a built-in sharpener. A virtual Technicolor assortment of waxy goodness and a sharpener to keep them in ready condition! What more could a child have wanted? I drew all kinds of pictures and shapes, some more recognizable than others.

At one point during the installation of Ocean of Images: New Photography 2015, one of the MoMA art handlers asked, “Where are all the photos?” It’s a valid question. For an exhibition of photography, Ocean of Images contains fewer framed pictures than one would expect.

Our newly redesigned calendar will help you plan your visit any day that you decide to come to the Museum, but here are some of this week’s standouts:

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 by leaving a comment on this post. We’ll provide the answers next month (on Friday, December 11).

It’s a busy week in the theaters, galleries, and online—take a look and see what suits you.

A large video projection opens with a view of a finely stained wooden surface. The hand of an unidentified woman appears on the right and a postcard portrait of Abby Aldrich Rockefeller—who, along with Lillie P. Bliss and Mary Quinn Sullivan, founded The Museum of Modern Art in 1929—is strategically placed in the center of the frame.

Since I usually write about films in the MoMA collection and, technically, The Bad Seed was a part of the collection until the depositor asked us to transfer it to another institution a few years back, I may be stretching my usual writing parameters. But I thoroughly want to write about The Bad Seed!

That all-caps title was the message relayed by MoMA staff from Alfred H. Barr, Jr., the Director of Museum Collections, to René d’Harnoncourt, the Museum’s director, confirming that the landmark exhibition The Sculpture of Picasso would indeed