As we say goodbye to April (and hopefully welcome some warmer weather), we’re excited to announce the start of a new initiative for New Yorkers ages 65 and up called Prime Time, which, in addition to future events will offer half-price senior admission and discounted membership throughout the month of May. Stay tuned for more on this program. Meanwhile, check out these highlights for the week:

Vittorio Garatti at the School of Ballet in Havana, Cuba, from Unfinished Spaces. 2011. USA. Directed by Alysa Nahmias, Benjamin Murray

• Tonight, in conjunction with the exhibition Latin America in Construction: Architecture 1955–1980, catch a special screening and discussion with the filmmakers of Unfinished Spaces, a documentary about the history and rediscovery of Cuba’s National Art Schools project, designed by the young artists Ricardo Porro, Vittorio Garatti, and Roberto Gottardi in the wake of Castro’s Revolution. The screening is free, but reservations are required.

• Also tonight, artist Bouchra Khalili joins us for a Modern Mondays program featuring a screening of her Foreign Office (2015) and the final chapters of her Speeches trilogy (2013), followed by a discussion with curator Thomas J. Lax.

Screenshot of the Migration Series Poetry Suite page on MoMA.org/migrationseries

• On Friday, MoMA presents the Debut Reading of the Migration Series Poetry Suite, with newly commissioned works responding to Jacob Lawrence’s Migration Series. Selected and moderated by poet Elizabeth Alexander, the evening features an extraordinary line-up: Rita Dove, Nikky Finney, Terrance Hayes, Tyehimba Jess, Yusef Komunyakaa, Patricia Spears Jones, Natasha Trethewey, Lyrae Van Clief-Stefanon, Crystal Williams, and Kevin Young. Explore the Migration Series Poetry Suite here.

Math Bass. Installation view of Lies Inside at Overduin & Co., Los Angeles. 2014

• Head to MoMA PS1 to see the new exhibitions Math Bass: Off the Clock and Jos de Gruyter & Harald Thys: Fine Arts, and celebrate the last Sunday Sessions of the season with Micachu: Local Holiday, Local Sun, Locals, Local Rain, Local Number, Local Drink, Local Customs, a performance by British artist Micachu of new material pulled from her vast collection of audio odds and sods, matched with wildly colorful projections from her sketchbook.

• And be sure not to miss the exhibition 100 Years in Post-Production: Resurrecting a Lost Landmark of Black Film History—an exhibition of the first black-cast feature film footage that was recently discovered in MoMA’s film collection—which closes on Sunday.

Five for Friday, written by a variety of MoMA staff members, is our attempt to spotlight some of the compelling, charming, and downright curious works in the Museum’s rich collection.

The exhibition <a href="http://www.moma.org/visit/calendar/exhibitions/1572" target=blank">Andy Warhol: Campbell’s Soup Cans and Other Works, 1953–1967</a> opens tomorrow (April 25), and as the title implies, the show’s focal point is Warhol’s iconic 1962 <a href="http://www.moma.org/explore/multimedia/audios/57/1098" target=blank">suite of 32 paintings</a> of, well, Campbell’s Soup cans.

Romare Bearden (American, 1911−1988). The Visitation. 1941. Gouache, ink, and pencil on brown paper, 30 1/2 x 46 1/2″ (77.5 x 118.1 cm). The Museum of Modern Art, New York. Gift of Abby Aldrich Rockefeller (by exchange). Acquired with the cooperation of the Estate of Nanette Bearden and the Romare Bearden Foundation whose mission is to preserve the legacy of the artist. © Romare Bearden Foundation/Licensed by VAGA, New York, NY

Before Romare Bearden turned to the medium of collage in 1964—the multilayered compositions, for which he is best known—he was steeped in the language of drawing and painting. The Visitation (1941) (now on view in the exhibition One-Way Ticket: Jacob Lawrence’s Migration Series and Other Visions of the Great Movement North) exemplifies a critical early moment in the development of an artist who would become a leading voice in the cultural life of Harlem and in the history of American art. Recently acquired by MoMA, The Visitation returns to the Museum’s galleries for the first time since the 1971 retrospective Romare Bearden: The Prevalence of Ritual.

The Rio Museum of Art. Photo: Athina Balopoulou

As urban sociologist Robert Park wrote, the city is “man’s most consistent and on the whole, his most successful attempt to remake the world he lives in more after his heart’s desire.” However, how aware are we of our right to reinvent the city, and not just access what is presented to us? How much more creative and human-centered could we be when rethinking the processes of urbanization?

While MoMA’s exhibition galleries usually get all the attention, this week several talks and performances take center stage. Check out the diverse roster of programming this week:

Production still from Piercing Brightness. 2013. Directed by Shezad Dawood. Courtesy of UBIK Productions Ltd. The image features Halo, an artwork by John Kennedy, commissioned by Mid Pennine Arts

A sense of place pervades the work of British artist Shezad Dawood, but we’re not talking about your picture-postcard nostalgia. Dawood’s first feature film, Piercing Brightness, is at the surface a stylized science-fiction tale, but it could equally be read as a public artwork of sorts.

The discovery of new artists and the rediscovery of established ones are key components of curatorial work. An exhilarating part of curatorial work is the ability to be something of a cultural archeologist and bring to the fore an artist whose work has been consigned to the past due to changing critical taste, shifts in technology, and the demands of motion picture economics. As a longtime Fox Films contract director, Hamilton MacFadden (American, 1901–1977) is indeed worthy of thoughtful rediscovery.

When you’re at a museum, how often do you have the impression that “freedom reigns,” or that you can “create anything?” Or have you ever experienced the sense of belonging to a larger community wherein people “from very different backgrounds and places…feel that there is something that can unite [them]?” We believe it is essential to nurture these opportunities through our educational initiatives, such as MoMA Studio.

From kid-friendly to scholarly, experimental to iconic, here are our picks for the week: