The title of the exhibition Wait Later This Will Be Nothing: Editions by Dieter Roth befits a number of the works on display that are slowly decomposing in front of spectators’ eyes. This post is dedicated to one particular pocket-sized perishable—Roth’s Pocket Room (Taschenzimmer) from MoMA’s Gilbert and Lila Silverman Fluxus Collection. In 1968, Dieter Roth—who challenged the boundaries of printmaking and publishing by integrating cheese, fruit, sausage, chocolate, and other organic materials into the process—released an unlimited edition comprising a banana slice on stamped paper tucked inside of a plastic container small enough to fit into the owner’s pocket.

Although the word “modern” will always spark some debate over its definition, The Museum of Modern Art has been committed since its founding in 1929 to collecting and sharing with the public the most compelling art of our time.

These notes accompany screenings of Jean Genet’s A Song of Love and Claude Chabrol’s Testament of Orpheus on March 27, 28, and 29 in Theater 2.

Jean Genet’s (1910–1986) association with the cinema was peripheral.

One of the most fascinating aspects of working in the Museum Archives is uncovering how iconic artists engaged with MoMA beyond their artwork in the galleries. As one of the most celebrated Abstract Expressionist painters, Robert Motherwell has a rich exhibition history at the Museum that is traceable all the way back to 1944, when MoMA acquired its first work by Motherwell.

MoMA’s celebration of the landmark year 1913 continues with the seventh in a series of videos highlighting important works from 1913 in the Museum’s collection.

Pulled from Dieter Roth’s masterpiece, Snow (1964/69), the title of MoMA’s latest book initially reads as something of a dare to stick around: Wait, Later This Will Be Nothing: Editions by Dieter Roth. Whether from the curiosity to see how it ends or the desire to possess something fleeting, this call to action sparked our appetite to consume Roth’s editions slowly in order to savor what might not last.

It’s always exciting to try new things as part of MoMA’s graphic design team. In the case of Applied Design, the new Department of Architecture and Design exhibition curated by Paola Antonelli and Kate Carmody, we got to challenge ourselves by using technology featured in the show to program a moving, dynamic title wall.

Exhibition research often takes curators to archives, museums, private collections, and galleries. These are usually pristine spaces, where voices are hushed, light levels are low, and temperature and humidity are carefully controlled. But I experienced something very different as I investigated the work of Dieter Roth (Swiss, born Germany. 1930–1998), featured in the current exhibition Wait, Later This Will Be Nothing: Editions by Dieter Roth.

These notes accompany screenings of Joseph L. Mankiewicz’s </em>Suddenly, Last Summer</a> on March 20, 21, and 22 in Theater 3.</p>

I’ve included Suddenly, Last Summer not so much for its intrinsic virtues (of which it certainly has some) but more as a case study in how complicated auteurism can become

The Museum of Modern Art’s Department of Education serves thousands of diverse visitors each year through its programs, from the local Girl Scout troop, to older adults in long-term care residences, to English-language learners who’ve only recently arrived in New York.