How well do you know your MoMA? If you think you can identify the artist and title of each of these works from MoMA’s collection—all currently on view throughout the Museum—please submit your answers by leaving a comment on this post. We’ll provide the answers next month (on Friday, May 8).

On Saturday, March 7, 2015, the second Art + Feminism Wikipedia Edit-a-thon took place at MoMA. This year over 75 satellite locations around the world participated in an effort to add and improve entries for women in the arts, and to provide training on how to edit Wikipedia articles. Art + Feminism has been instrumental in organizing events and trainings such as this for many years, and the event at MoMA drew over 200 participants and many volunteers from POWarts.

Three years after the advent of the Portapak (the first portable video recorder), MoMA showed Nam June Paik’s Lindsay Tape (1967) as part of the landmark 1968 exhibition The Machine as Seen at the End of the Mechanical Age, organized by K.G. Pontus Hultén. The piece consisted of two, half-inch reel-to-reel decks that were spaced 10 feet apart, with the tape (Paik’s original!), jerry-rigged together to allow it to loop continuously. After a week on view, the wear on the tape proved too much. It began to break down and was taken off view (and was almost lost to history). Despite this rather daunting introduction to the fragile and fugitive nature of video, the Museum began to formally acquire video works in the late 1970s,

Where do you start when describing this past season of MoMA’s In the Making program, offering free art and technology courses to an ever-evolving community of NYC high school students each spring and summer? We could begin with the first day of classes, perhaps, when the hundred or so new participants make their way to the Museum for the first studio session, many walking through our doors for the first time ever. The young artists in Destroy Everything: Tearing Things Down & Building Things Up began the season with a very appropriate introduction to their theme.

Flowers blooming, sun shining, galleries buzzing—with spring in full swing there’s no better time to get out and experience something new. Don’t miss out on this week’s highlights:

Scenes for a New Heritage: Contemporary Art from the Collection, a sweeping reinstallation of MoMA’s Contemporary Galleries, is a markedly cross-medium selection of works from the Museum’s collection. Created in the past three decades by more than 30 international artists, the works in the exhibition span a range of approaches that respond to the political, social, and cultural flux of our time.

Situated prominently in one of the final galleries, and on view at MoMA for the first time, Mark Bradford’s set of untitled 2012 etchings leave an unexpected mark—both literally and figuratively.

MoMA’s Department of Architecture and Design has acquired the . (aka “period,” “hard stop,” or “baseline dot”) into its collection.

As MoMA has proven with its recent acquisition of the “@” symbol, it is more important to recognize major design innovations than it is to actually, you know, possess them, and few things are more deserving of recognition that our concise little friend the ..

As someone who develops programs and resources for families, I often think about the role of adults during a museum visit. In MoMA Art Lab: Places and Spaces, our interactive space, we are sensitive to the fact that each family has their own way of relating to one another, which might change from day-to-day. Some caregivers read a book while their child builds a tower on the floor; others might work with their child to design a structure at the art-making table;

This week is all about last chances and what’s up next. Check out what you won’t want to miss:

When the world we live in feels too impossible I find myself imagining the world I want to live in. It’s not just about the major acts of horrific inhumanity that humans bestow upon one another, it’s about the small daily indignities too. In the world I want to live in we’re not senselessly slaughtering each other, and no one throws trash on the ground or holds the entire communal table in the coffee shop hostage with their cell phone conversation, either. And people actually do step aside to let the passengers off the train. In the world I want to live in, it’s understood that we are all in this together. Call me a cockeyed optimist, but I’m convinced that the smallest effort toward compatibility goes a long way.