Last Saturday’s Warm Up performances brought the dance party to MoMA PS1 with sets by Suicideyear, UNiiQU3, GoldLink (live), Total Freedom, and Cashmere Cat—and more set design by CONFETTISYSTEM.

One of the great privileges of being a curator at MoMA is firsthand access to the works that make up our outstanding collection. Yet, even in the case of the Drawings collection, with its share of easily handled, two-dimensional works, this access often begins with an exploration of our digital database. The basic information on a work—artist, title, date, etc.—is readily available here, and makes it an invaluable resource for early research on any project.

In Italian, un confronto; in English, a comparison, contrast, or confrontation. In New York, old buildings, like Dia:Beacon, are sometimes beautifully repurposed as museums, but more often they are torn down for something new. In Italy, factories and castles are often transformed into modern and contemporary art institutions. The past confronts the present, and the present is enhanced through its relationship to history.

These notes accompany screenings of Woody Allen’s </em>Annie Hall</a> on July 30 and 31 and August 1 in Theater 3.</p>

With the release of Magic in the Moonlight last week, Woody Allen has now directed 50 films in slightly less than 50 years. Annie Hall was his eighth and, some suggest, best film.

Along with this week’s picks, come to MoMA to see our newest exhibition, Christopher Williams: The Production Line of Happiness,</a> a vibrant retrospective of the influential photographer’s work.

Last Saturday’s performances brought an exhilarating darker, techno vibe to MoMA PS1 with sets by Robert Hood, Objekt, Rrose, Vatican Shadow (live), Container (live), and Young Male—and more set design by CONFETTISYSTEM.

Have you ever puzzled over a work of art that bears little or no resemblance to its title? In 1926, the disparate relationship between an artwork and its textural description led to one of the most significant clashes of art and law in history: the case of Brancusi v. United States.

Constantin Brancusi (1876–1957) was born in Romania, but from 1904 he lived and worked as a sculptor in Paris.

I have a vague recollection of attending a classmate’s birthday party when I was about six or seven and in the gift bag there was a paper dress perfectly sized to fit me! The dress was neatly folded in a flat plastic package; it was a simple, A-line, sleeveless shift dress with brightly colored circles. I can’t recall the manufacturer, but the material was something like a thick, stretchy paper towel.

These notes accompany screenings of Martin Scorsese’s </em>Taxi Driver</a> on July 23, 24, and 25 in Theater 3.</p>

No director has ever been so closely identified with New York in all its manifestations, its terrors and its glories, as Martin Scorsese, who was born in Flushing, Queens, 71 years ago. (Even Woody Allen has, at this point, become more or less a jet-setter, preferring European jaunts to the streets of New York.)

This week’s picks highlight the many, and sometimes unexpected, ways that MoMA connects visitors to the artists and artwork we exhibit. Take a closer look and join us!