MARINA ABRAMOVIĆ: The woman sitting on the bicycle seat in the middle of the wall with a projected light on her dissolving in luminous light. It's a very difficult, demanding piece, because the woman ...

Leah Dickerman: These "White Paintings" may not be prepossessing, but they're among the most radical statements about painting made in the middle of the 20th century. They are blank canvases stretched ...

MARINA ABRAMOVIĆ: When we was Australian desert and living with the Aborigines, we was looking to this report of astronauts who said that only construction who can be seen from moon, human-made, is ...

Narrator: This work belongs to a series of paintings in which Magritte paired words and images using the format of a children’s reading primer. Curator, Anne Umland: Misnaming objects was one of ...

Immerse yourself in ideas and see your world in new ways through art. In MoMA’s free Massive Open Online Courses (MOOCs) on Coursera, you will hear directly from artists and designers, look closely at ...

The New Objectivity (Neue Sachlichkeit) emerged as a style in Germany in the 1920s as a challenge to Expressionism. As its name suggests, it offered a return to unsentimental reality and a focus on ...

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Director, Glenn Lowry: In her earlier performance, Rhythm 0, Abramović surrendered complete control to her audience as she stood impassively, next to a table with objects that they could use on her as ...

Jerry Gorovoy: I’m Jerry Gorovoy. This hanging bronze figure is called the Arch of Hysteria. Louise had actually been in psychoanalysis from 1951 all the way up until the 1980s. At the beginning of ...

MARINA ABRAMOVIĆ: Rhythm 5 was about ritualization of the Communist five point star burning my hair, burning my nails. I had almost a serious accident because the fire took all the air, and when I was ...

Leah Dickerman: Minutiae came out of a set of collaborations among Merce Cunningham, the choreographer; John Cage, the composer; and Rauschenberg. And it's one of many in these years. Cunningham and ...

MARINA ABRAMOVIĆ: Ulay and me, after meeting and start working together, our first performance was, Relation In Space in 1976 and was performed for the Venice Biennale. This idea of this piece was two ...