Whitney Museum announces Exhibitions through Fall 2027 

Roy Lichtenstein, Bellagio Hotel Mural: Still Life with Reclining Nude (Study), 1997. Collage and graphite pencil on board: sheet, 38 5/8 × 54 5/16 in. (98.1 × 138 cm); image, 36 1/2 × 52 3/16 in. (92.7 × 132.6 cm). Whitney Museum of American Art, New York; The Roy Lichtenstein Study Collection, gift of the Roy Lichtenstein Foundation 2019.79. © Estate of Roy Lichtenstein/DACS 2026

The Whitney presents two exhibitions offering a bold reconsideration of Roy Lichtenstein, one of Pop art’s defining figures, alongside presentations featuring Minnie Evans, Coumba Samba, Farah Al Qasimi, Sonya Kelliher-Combs, Juan Sánchez, and the 25th anniversary of artport, the Museum’s pioneering online gallery space for net art commissions.

The Whitney Museum of American Art announces its upcoming exhibitions through Fall 2027, highlighting the Museum’s continued commitment to artists working across painting, sculpture, photography, film, installation, performance, and digital art. Opening this fall, the Museum will present Roy Lichtenstein: Like New, a major exhibition examining one of the defining artists of the Pop art movement, alongside Roy Lichtenstein: 1997, a focused presentation of rarely seen works from the final year of the artist’s life. The season also includes The Lost World: The Art of Minnie Evans, marking the artist’s return to the Whitney more than fifty years after the Museum organized her first solo exhibition; the 25th anniversary exhibition artport: A History of Internet Art; new presentations by Coumba Samba and Farah Al Qasimi; and the first New York solo museum exhibition of Sonya Kelliher-Combs.

NEWLY ANNOUNCED EXHIBITIONS

The Lost World: The Art of Minnie Evans

August 22, 2026

The Lost World: The Art of Minnie Evans offers a reexamination of one of the most extraordinary self-taught artists of the twentieth century, just over fifty years after the Whitney presented Minnie Evans’s groundbreaking first solo museum exhibition in 1975. This touring exhibition, organized by the High Museum of Art, brings together works made between 1935 and 1981 and highlights Evans’s radiant drawings, paintings, and collages inspired by dreams, spiritual revelation, mythology, popular culture, and the natural world.

Through luminous color, dense patterning, and recurring motifs of flowers, birds, angels, and human faces, Evans envisioned a world that blurs the boundaries between the earthly and the divine. Living in Wilmington, North Carolina during the Jim Crow era, Evans created visual images of an imagined “lost world” of harmony and spiritual unity. At once deeply personal and expansive, Evans’s work offers a powerful meditation on faith, imagination, transcendence, and the possibility of harmony amid a vulnerable world.

The Lost World: The Art of Minnie Evans is organized by the High Museum of Art, Atlanta, and curated by Katherine Jentleson, the High Museum’s Senior Curator of American Art and Merrie and Dan Boone Curator of Folk and Self-Taught Art. The presentation at the Whitney Museum of American Art is organized by Barbara Haskell, Curator, with Caroline Webb, Curatorial Assistant.

Roy Lichtenstein: 1997

September 5, 2026

Roy Lichtenstein: 1997 is a focused exhibition highlighting rarely seen works from the last year of the pioneering Pop artist’s life. This exhibition runs in conjunction with the major exhibition Roy Lichtenstein: Like New, presented on the Museum’s 5th floor. Echoing and expanding on key throughlines from the larger exhibition, Roy Lichtenstein: 1997 includes prints, photographs, and sculptural maquettes along with drawing and collage studies for a number of unrealized projects.

The exhibition demonstrates the incredible vitality of Lichtenstein’s vision and his restless pursuit of new ideas five decades into his career. While the artist is often associated with his works of the 1960s and 1970s, Roy Lichtenstein: 1997 offers fresh insight into the range of the artist’s late experimentation and his response to the advent of the digital age.

Roy Lichtenstein: 1997 is organized by David Crane, Curatorial Research Associate, and Nakai Falcón, Curatorial Assistant.

Coumba Samba: Stars and Stripes

September 19, 2026

Coumba Samba: Stars and Stripes is the first solo museum presentation devoted to artist Coumba Samba. A Senegalese American artist based in New York, Samba is known for her site-specific installations that draw on histories of modernist abstraction and minimalism, taking seemingly neutral non-objective forms from the global built environment and exposing the social, political, and economic structures embedded within.

For this lobby gallery exhibition, Samba is developing an immersive installation titled Stars and Stripes that critically examines the development of nuclear power and the African resource extraction that has sustained it. Titled after a common figure of speech to refer to the American flag, the installation continues Samba’s practice of deconstructing the symbols and forms that uphold the U.S. military- industrial complex.

Coumba Samba: Stars and Stripes is organized by Rujeko Hockley, Guest Curator, with Antonia Pocock, Curatorial Assistant.

artport: A History of Internet Art

November 21, 2026

artport: A History of Internet Art marks the 25th anniversary of artport, the Whitney’s online gallery space for commissions of net art, which launched in 2001. Since its inception, artport has presented a snapshot of the varied practices artists use to engage with an ever-evolving online environment. Taking place online and in the gallery, the exhibition tells a history of the evolution of net art over a quarter century and features more than 100 works commissioned specifically for artport.

The exhibition presented on the Museum’s 6th Floor is structured around the three main commissioning categories of the artport website: the Gate Pages, created from 2001 to 2006 as portals to artists’ websites; the main Commissions, which have been ongoing since 2001; and the Sunrise/Sunset series, which ran from 2009 to 2024, along with its successor, On the Hour. In the galleries, the open floor plan creates the impression of floating browser windows, bringing the history of online art into physical space.

Working across code, data visualization, nonlinear narrative, worldbuilding, gaming environments, and AI-driven net art, the artists in the exhibition explore how the internet has reshaped privacy, identity, self-perception, surveillance, and the boundaries between online and offline life. Together, the works offer a wide-ranging look at how artists have used the internet as both a site and a medium for artistic production.

The artport anniversary exhibition will include the world premiere of Human Unreadable Act III, by the artist duo Operator. This live performance is the culmination of Human Unreadable, Operator’s seminal generative choreography work unfolding in three acts since 2023. Act III is a multimedia performance and examination of the artists’ negotiations between the body, ambition, and technology. The performances will take place in the Whitney’s Susan and John Hess Family Theater on November 19, 21, and 22.

artport: A History of Internet Art is organized by Christiane Paul, Curator of Digital Art, with David Lisbon, Curatorial Assistant, and Colin Brooks, Head of Digital Development.

Farah Al Qasimi: TAILSPIN

January 30, 2027

Farah Al Qasimi: TAILSPIN takes its title from the featured video work, TAILSPIN. Filmed in between Michigan, West Texas, and the East Coast, the work traces the long-standing relationship between American industry, oil, car culture, and Arab immigration.

Told from the perspective of a jinn, or spirit, the work combines fictionalized storytelling, documentary-style footage, and real testimony to explore the complexities of identity-building in post-9/11 America. The film unfolds through auto shops, living rooms, restaurants, and the swamplands of the Rouge River, revealing layered histories of migration, industry, community, and belonging.

Farah Al Qasimi: TAILSPIN is organized by Drew Sawyer, Sondra Gilman Curator of Photography, and Kelly Long, Assistant Curator.

Sonya Kelliher-Combs: TITIQ/MARK

February 6, 2027

Sonya Kelliher-Combs: TITIQ/MARK highlights nearly two decades of the artist’s explorations of history, cultural continuity, self-determination, and land use through her inventive approaches to artmaking. An Iñupiaq and Koyukon artist based in Anchorage, Alaska, Kelliher-Combs (b. 1969) makes paintings, sculptures, and installations that are deeply informed by generational knowledge. The Iñupiaq word “TITIQ,” which translates to “MARK” in English, carries multiple meanings, including the visible and invisible marks of colonialism, as well as the physical mark-making essential to Kelliher-Combs’s practice. The exhibition, which is the artist’s first solo museum show in New York, foregrounds her use of repetition and seriality and includes examples from ongoing bodies of work, such as Curls, Remnants, Idiot Strings, and Secrets.

Kelliher-Combs uses a wide range of artistic mediums, including marine mammal gut, paint, hair, fabric, animal hide, thread, and her own innovations with acrylic polymer. The exhibition will highlight the breadth of these experimentations while grounding her practice in traditional methods of production, like gut processing and sewing. As the first mid-career survey of an Indigenous artist at the Whitney, TITIQ/MARK expands the Museum’s commitment to presenting a fuller picture of contemporary American art and is an unprecedented opportunity to share the material culture of the Bering Strait region with our audiences, underscoring its ongoing importance in Indigenous communities today.

Sonya Kelliher-Combs: TITIQ/MARK is co-organized by the Whitney Museum of American Art, New York, and the Anchorage Museum. The exhibition is co-curated by Jennie Goldstein, Marion Boulton “Kippy” Stroud Curator of the Collection, Whitney Museum of American Art, and Julie Decker, Director/CEO, Anchorage Museum, with Rose Pallone, Curatorial Assistant, Whitney Museum of American Art.

Juan Sánchez: States of Liberation

October 2027

Juan Sánchez: States of Liberation will be the first traveling retrospective devoted to Juan Sánchez, one of the founding figures of Latinx art in the United States. For more than four decades, Sánchez has created a powerful and deeply personal body of work rooted in the histories, politics, and spiritual traditions of the working-class and Puerto Rican communities that shaped his upbringing in New York.

Across more than 60 works, including paintings, works on paper, photography, and video, the exhibition weaves together the narrative threads of autobiography, community, nation, and utopia. Together, these works offer a comprehensive look at Sánchez’s expansive practice and his sustained engagement with identity, collective memory, colonialism, resistance, and the possibility of social transformation.

Juan Sánchez: States of Liberation is co-organized by The Whitney Museum of American Art, New York, and The Phillips Collection, Washington, DC, in collaboration with the Museo de Arte de Puerto Rico. Curated by Marcela Guerrero, DeMartini Family Curator, Whitney Museum of American Art; Tie Jojima, Curator of Global Contemporary Art, The Phillips Collection; and Alejandro Anreus, Guest Curator, with Carina Martinez, Rubio Butterfield Family Fellow, Whitney Museum of American Art.

PREVIOUSLY ANNOUNCED EXHIBITIONS

Previously announced presentations include Roy Lichtenstein: Like New, a bold reconsideration of one of the defining artists of the Pop art movement; Andy Warhol Family Album, an intimate look at the Polaroids Warhol took from 1972–73 that captures friends, collaborators, celebrities, travels, and daily life; and “Untitled” (America), a refreshed look at the Whitney’s leading collection of American art.

Roy Lichtenstein: Like New opens on October 11 and highlights the work of one of the defining artists of the Pop art movement. Lichtenstein turned the visual language of mass culture, comics, advertising, consumer goods, and commercial printing into some of the most recognizable images of the twentieth century. His work looked cool, crisp, and machine-made, but was meticulously handmade, revealing an artist fascinated by how images are built, copied, enlarged, circulated, and made new.

This exhibition brings together roughly 130 works made from the early 1940s through the 1990s and traces how his early interest in perception and visual recognition shaped a career-long investigation into duplication, simulation, and image culture. Across painting, drawing, collage, prints, sculpture, and film, Lichtenstein treated images as unstable forms that could be borrowed, translated, reframed, and transformed.

The exhibition features many of Lichtenstein’s most celebrated works, including Look Mickey (1961), Girl with Ball (1961), Masterpiece (1962), Drowning Girl (1963), Happy Tears (1964), Little Big Painting (1965), Rouen Cathedral, Set III (1968–69), and Artist’s Studio “The Dance” (1974). It also includes a recreation of three murals, including a nearly 96-foot-long iteration of Greene Street Mural (1983). Roy Lichtenstein: Like New also reunites, for the first time, all the works from Lichtenstein’s first exhibition of Pop-style work at Leo Castelli Gallery in 1962. This pivotal moment for the artist would come to define an era, with its impact extending far beyond Pop and shaping generations of artists, including Louise Lawler, Richard Pettibone, and Sturtevant, whose work will also be on view in this exhibition and further illuminate Lichtenstein’s relationship to copying, influence, appropriation, and the afterlife of images.

In an era when pictures are endlessly cropped, filtered, reposted, and recirculated, Lichtenstein’s work feels newly urgent. Like New looks beyond the artist’s iconic surfaces to reveal the power and instability of images and celebrates an artist who understood, long before the digital age, that images change as they move through the world.

Andy Warhol Family Album, currently on view, brings together Polaroids from 1972–73 that capture the artist’s intimate world of friends, collaborators, celebrities, travels, and daily life. Drawn from one of six albums Warhol kept as a personal archive, the photographs range from posed portraits and candid scenes at his Montauk home to images from European trips and snapshots of his dog, Archie. Taken with the cameras he carried almost everywhere, these images reflect Warhol’s compulsive approach to documenting the people and experiences around him. Together, they reveal photography as both an intimate record of his life and an essential part of his artistic practice.

“Untitled” (America), currently on view, presents a refreshed look at the Museum’s leading collection of American art. This installation of the Whitney’s collection is a testament to the ambitious and experimental practices of artists in the United States, offering diverse stories of American life through formal, social, and political lenses. “Untitled” (America) features recognizable favorites by renowned American artists, including Jean-Michel Basquiat, Barkley L. Hendricks, Edward Hopper, Jasper Johns, Archibald John Motley, Jr., Georgia O’Keeffe, Helen Frankenthaler, Ed Ruscha, Alma Thomas, Kay WalkingStick, and Andy Warhol, alongside more recent acquisitions from the Museum’s collection.

Beginning in 1900 and spanning the early 1980s, “Untitled” (America) explores throughlines from the collection that, at times, cut across chronological boundaries. The exhibition considers how artists have engaged with place and memory in the American landscape, popular culture and consumerism, the enticing illusions of mass media, and the spatial and cultural dynamics of abstraction.

ABOUT THE WHITNEY

The Whitney Museum of American Art, founded in 1930 by the artist and philanthropist Gertrude Vanderbilt Whitney (1875–1942), houses the foremost collection of American art from the twentieth and twenty-first centuries. Mrs. Whitney, an early and ardent supporter of modern American art, nurtured groundbreaking artists when audiences were still largely preoccupied with the Old Masters. From her vision arose the Whitney Museum of American Art, which has been championing the most innovative art of the United States for ninety years. The core of the Whitney’s mission is to collect, preserve, interpret, and exhibit American art of our time and serve a wide variety of audiences in celebration of the complexity and diversity of art and culture in the United States. Through this mission and a steadfast commitment to artists, the Whitney has long been a powerful force in support of modern and contemporary art and continues to help define what is innovative and influential in American art today.

Whitney Museum Land Acknowledgment

The Whitney is located in Lenapehoking, the ancestral homeland of the Lenape. The name Manhattan comes from their word Mannahatta, meaning “island of many hills.” The Museum’s current site is close to land that was a Lenape fishing and planting site called Sapponckanikan (“tobacco field”). The Whitney acknowledges the displacement of this region’s original inhabitants and the Lenape diaspora that exists today.

As a museum of American art in a city with vital and diverse communities of Indigenous people, the Whitney recognizes the historical exclusion of Indigenous artists from its collection and program. The Museum is committed to addressing these erasures and honoring the perspectives of Indigenous artists and communities as we work for a more equitable future. To read more about the Museum’s Land Acknowledgment, visit the Museum’s website.

VISITOR INFORMATION

The Whitney Museum of American Art is located at 99 Gansevoort Street between Washington and West Streets, New York City. Public hours are Monday, Wednesday, and Thursday, 10:30 am–6 pm; Friday, 10:30 am–10 pm; and Saturday and Sunday, 10:30 am–6 pm. Closed Tuesday. Visitors twenty-five years and under and Whitney members: FREE. The Museum offers FREE admission and special programming for visitors of all ages every Friday evening from 5–10 pm and on the second Sunday of every month.