Installation view of The Forever Now: Contemporary Painting in an Atemporal World, The Museum of Modern Art, New York, December 14, 2014–April 5, 2015. Photo by John Wronn. © 2015 The Museum of Modern Art

The Forever Now: Contemporary Painting in an Atemporal World has, as the critics have said, been “a long time coming” and “long anticipated.” The art world has been waiting for MoMA to take a position on contemporary painting now that worry over the “death of painting” in the 1980s and 1990s has been more or less settled by the medium’s persistence in both artists’ studios and the (much-maligned) painting-heavy art market.

In 1969 American composer Alvin Lucier first performed his landmark work I Am Sitting in a Room, conceived for voice and electromagnetic tape. Lucier read a text into a microphone. Attempting to smooth out his stutter, he began with the lines, “I am sitting in a room, the same one you are in now. I am recording the sound of my speaking voice.” As described in the text, his voice was recorded, then played back into the room. This process was repeated, and with each iteration Lucier’s recorded speech grew muddled, sounding distant, and specific sonic frequencies started to dominate the recorded sound.

Leonard Freed. Baltimore, Maryland: Dr. Martin Luther King, Jr. being greeted upon his return to the United States after receiving the Nobel Peace Prize. October 31, 1964. Gelatin silver print, 14 1/4 x 21 3/16″ (36.2 x 53.8 cm). The Museum of Modern Art, New York. Acquired through the generosity of Thomas L. Kempner, Jr. © 2015 Leonard Freed/Magnum Photos

We begin this week by honoring Dr. Martin Luther King, Jr., and his inspirational legacy. The above photograph by Leonard Freed, drawn from MoMA’s collection, was taken in 1964, on the occasion of King’s return home after receiving the Noble Peace Prize (making him, at the time, the youngest person to receive the award).

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, February 13).

The artist Christopher Wool is never through with a form just because he’s used it before. Rather, in a perpetual cycle of self-appropriation, he runs the visual elements he creates through numerous incarnations, constantly experimenting with shifts in scale and medium.

This week pairs art and conversation in just about every way, from scholarly discourse and artists in person, to the most talked-about films and exhibitions of the season. Don’t miss these highlights:

Timbuktu. 2014. France/Mauritania. Directed by Abderrahmane Sissako. Courtesy of Cohen Media Group

Alongside Citizenfour, Timbuktu might be the most urgently topical film of the year, but unlike Citizenfour, Timbuktu is not a documentary. This narrative film, the latest by Malian auteur Abderrahmane Sissako, was inspired by a 2012 entry in a local Malian newspaper about a couple being stoned to death for having children out of wedlock. Sissako’s interlocking stories of Timbuktu residents bring texture to tragically frequent headlines chronicling the rise and bloody tactics of foreign jihadists on the African continent.

Installation view of Making Music Modern: Design for Ear and Eye, The Museum of Modern Art, November 15, 2014–November 1, 2015. Photo: John Wronn

“Don’t you wonder sometimes/’Bout sound and vision?” sings David Bowie wistfully on a track from the album Low, released in 1977. Recently I’ve spent a lot of time thinking about how music—an essentially invisible and immaterial art form—grounds us in the physical world, influencing the mood and tone of everyday life. Without it we definitely lose our bearings.

It’s a dream job: my role in marketing and communications at MoMA is to get the public excited by telling stories about our exhibitions and programs. It’s also a fast-moving and fluid media environment; we need to constantly experiment with new ways of telling those stories, and test new channels for connecting with an audience that has many options for enjoying art and culture.

“What floor is the copycat exhibition on?” I recently overheard a museum visitor ask this of a security guard, presumably hoping to locate <a href="http://www.moma.org/visit/calendar/exhibitions/1497" target=_blank>Sturtevant: Double Trouble</a>. At first glance, the exhibition appears to be a group show of 20th-century masterpieces—a Jasper Johns flag painting here, an Andy Warhol Marilyn Monroe there—until you realize that these are all by Sturtevant, an American artist best known for making her own versions of the works of her contemporaries, including Joseph Beuys, Marcel Duchamp, Keith Haring, and many others.