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, June 13).

A new installation in the galleries brings together a diverse group of works from the late 1960s and 1970s, a moment when many artists radically reexamined the medium of painting.

These notes accompany screenings of George A. Romero’s </em>Night of the Living Dead</a> on May 7, 8, and 9 in Theater 2.</p>

The Wikipedia entry for Night of the Living Dead cites 126 references, not to mention extensive bibliography, external links, etc.

This week brings an eclectic mix of programs that cater to both early birds and night owls alike. Whatever your speed, don’t forget to include mom in your plans

There’s nothing in the world like a really fast car, and the MoMA design collection has one of the world’s fastest: the 1990 Scuderia Ferrari Formula 1 High Performance Racing Car (641/2), by British auto designer John Barnard.

Though not a recent acquisition, I thought it fitting to feature the Ferrari now in honor of Fernando Alonso and Ferrari’s first podium of the 2014 Formula 1 season at the recent Chinese Grand Prix.

As designer John Barnard explains in an audio guide segment from the 2002 exhibition AUTObodies: speed, sport, transport, the 641, or F1-90, as it’s become known, was built for speed. And it delivered. Plus it’s red. Fiery red. Ferrari red, in fact. Red means danger, look out, hot stuff coming through; it’s the color of anger, passion, and seduction, and as everyone knows, red cars go faster.

Scuderia Ferrari has been part of Formula 1 since the beginning, so it’s no wonder that the racing team holds so many F1 records, including the most constructor and driver championships and most overall wins. Each Formula 1 team races two cars; in 1990  two world championship drivers, Alain Prost and Nigel Mansell, drove the 641 for Ferrari, combining for three pole positions, five fastest laps,  and six wins. As reigning champion, Prost’s was the number one car; and he came close to repeating—only to lose out to another world champion, his arch rival Aryton Senna.

The formula, or the overall guiding regulations of Formula 1, has changed over the years with countless modifications and improvements. And big changes came this year with the hybrid 1.6-litre V-6 turbo engine with ERS (Energy Recovery Systems), a major shift from the 2013 2.4-litre V-8. Overall design changes accompanied the new, greener 2014 engines, but likely the most notable and most talked about change is the new engine sound—or lack of it. Drivers have said they can hear the wind over the engine noise; used to be all you could hear was the engine.

The sound of the 1990 641 Ferrari 3.5-litre V-12 engine is familiar to race fans the world over. Like none other, it screams exhilaration, excitement, and pure power.

The world of Grand Prix motor racing is one of precision, with its rigorous formula, and exacting calculations; it’s a culture unto itself with a complicated set of rules and statistical systems of points and penalties spoken in a language of strange numbers and acronyms. But it’s the visceral experience of raw power, crazy kinetic energy, and speed of the cars that ignites our imagination—the remarkable talents and mad skills of drivers the draws us in.

“Tutti i Motori Ferrari,” a catalogue of Ferrari engines designed by the Dutch graphic artist Irma Boom is also in MoMA’s design collection. Its soft, outer cover displays the Ferrari prancing horse logo on a silver-colored background that looks to be made of a fluid version of same the aluminum alloy used for F1 engine blocks; the interior plates showcase the evolution of the engines throughout Ferrari’s history. (A flip through of the pages of “Tutti I Motori Ferrari” begins at the one minute mark in the video “20 books by Irma Boom.”)

Before AUTObodies MoMA’s Ferrari 641-2 was first on view in the 1993 exhibition Designed for Speed: Three Automobiles by Ferrari. It can presently be found hanging on the wall in MoMA’s Lewis B. and Dorothy Cullman Education and Research Building lobby, like a perfect portrait of a high-performance machine.

UNIQLO has had a long and fruitful relationship with MoMA, and through UNIQLO Free Friday Nights has helped advance the Museum’s mission by making art and design accessible to everyone. To celebrate its continued support of MoMA, this spring UNIQLO unveiled UNIQLO at MoMA, an assortment of T-shirts, tote bags, bandanas, and socks that feature artwork by world-renowned artists, including Andy Warhol, Jean-Michel Basquiat, Keith Haring, Jackson Pollock, and Ryan McGinness.

Many of the works featured in the exhibition There Will Never Be Silence: Scoring John Cage’s 4’33” were created around 1960, as a generation of artists and students of John Cage reacted to the radical possibilities opened up by his 4’33”. The score had finally been published eight years after its first performance at Woodstock in 1952.

These notes accompany screenings of Milos Forman’s </em>The Firemen’s Ball</a> on April 30 and May 1 and 2 in Theater 3.</p>

The career of Milos Forman (now 82) parallels in some ways that of Roman Polanski.

May Day plays an interesting role in The Museum of Modern Art’s history, as the occasion brought Jere Abbott and Alfred H. Barr, Jr., who would become MoMA’s first associate director and director respectively, together with Diego Rivera for the first time.

Robert Heinecken: Object Matter, the first retrospective since the artist’s death in 2006, contains over 100 photo-based works created by Heinecken between 1962 and 1999. Heinecken was best known for working in the medium of photography and with manipulating images, but surprisingly, he seldom used a camera,