Edward Hopper (1882 – 1967), The Lee Shore, 1941, Oil on canvas, 28 1/4 x 43 in, The Middleton Family Collection

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.

December

2025

11:02 AM

America/New_York

Philadelphia Art Museum Announces 2026 Exhibitions

Noah Davis
January 24–April 26, 2026
Morgan, Korman, and Field Galleries (150–155)
Press Preview: Thursday, January 22, 2026

Bringing together over 60 works, this landmark survey will chart Noah Davis’s (1983–2015) practice across painting, curating, and community-building, marking the final stop on an international tour organized with DAS MINSK in Potsdam, Germany, the Barbican in London, and the Hammer Museum in Los Angeles. Davis’s unique vision captures the intricacies of life with tenderness and depth, linking personal and collective narratives in ways that profoundly resonate with our times. Displayed chronologically, the exhibition will feature work made from 2007 until his death in 2015 at the age of 32, exploring the artist’s take on politics, current affairs, family histories, racism in American media, architecture, and visual culture. His paintings—which fluidly move between styles and techniques to depict dreamlike, joyful, and melancholic scenes—will be shown alongside experimental sculptures and works on paper that speak to the conceptual foundations of the artist’s career.

Full press release.

Noah Davis, Isis, 2009, Oil and acrylic on linen. Mellon Foundation Art Collection. © The Estate of Noah Davis. Courtesy The Estate of Noah Davis and David Zwirner. Photo: Kerry McFate

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Noah Davis, The Conductor, 2014, Oil on canvas. Glenstone Museum, Potomac, Maryland© The Estate of Noah Davis. Courtesy The Estate of Noah Davis and David Zwirner. Photo: Kerry McFate

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Noah Davis, Untitled, 2015, Oil on canvas. The Museum of Modern Art, New York. Gift of Marie-Josée and Henry R. Kravis in honor of Jerry Speyer’s 80th birthday, 2020 © The Estate of Noah Davis. Courtesy The Estate of Noah Davis and David Zwirner. Photo: Kerry McFate

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Noah Davis, 40 Acres and a Unicorn, 2007, Acrylic and gouache on canvas, Private collection; courtesy of David Zwirner © The Estate of Noah Davis. Courtesy The Estate of Noah Davis and David Zwirner. Photo: Anna Arca

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Noah Davis, Mary Jane, 2008, Oil and acrylic on canvas, Private collection; courtesy of David Zwirner © The Estate of Noah Davis. Courtesy The Estate of Noah Davis and David Zwirner. Photo: Kerry McFate

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.

A Nation of Artists
April 12, 2026–July 5, 2027
American Art Galleries
Press Preview: Friday, April 10, 2026

Three collections of American art—the Philadelphia Art Museum, the Pennsylvania Academy of the Fine Arts, and the Middleton Family Collection—will unite to present A Nation of Artists, an extraordinary exhibition to mark the nation’s 250th anniversary. On view at the art museum in renovated American Art galleries and at the Academy in the newly-refurbished Frank Furness building, with rarely-seen loans from the Middleton Family Collection at both venues, A Nation of Artists spans three centuries of art tracing the ever-evolving story of American creativity. The art museum’s collections will be shown side by side with furniture, decorative arts, painting, and sculpture from the Middleton Family Collection. Charles Willson Peale’s life-size portrait of George Washington will anchor the colonial and early national period, while spectacular, rarely seen landscapes and portraits ranging from the realism and Impressionism of the 1800s through the expressionistic movements of the twentieth century will offer a fresh take on American art.

Full press release.

Charles Willson Peale, (1741 - 1827), Staircase Group (Portrait of Raphaelle Peale and Titian Ramsay Peale I), 1795 Oil on canvas 7 ft 5 1/2 in × 39 3/8 in, Philadelphia Museum of Art, The George W. Elkins Collection, 1945 , E1945-1-1.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Frederic Edwin Church Pichincha, 1867 Oil on canvas 31 × 48 3/16 inches (78.7 × 122.4 cm); Framed: 63 × 46 × 6 inches (160 × 116.8 × 15.2 cm) 125th Anniversary Acquisition. Gift of the McNeil Americana Collection, 2004. Philadelphia Museum of Art.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Edward Hopper (1882 – 1967), The Lee Shore, 1941, Oil on canvas, 28 1/4 x 43 in, The Middleton Family Collection

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Wharton E. Esherick Library Ladder Steps with Elephant and Donkey Shaped Finals, 1935 Hickory, Oak 34 ¾ x 18 x 23 ¼ inches 125th Anniversary Acquisition. Gift of Rachel Bok Goldman and Allen S. Goldman, M.D., 2001 Philadelphia Museum of Art.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Hot Water Kettle on Stand, 1839-1851, William Forbes, Ball, Tompkins & Black, New York, Silver, Philadelphia Museum of Art, Purchased with the Richardson Fund, funds contributed in memory of Sophie E. Pennebaker, the Center for American Art Fund, and with funds contributed by the Levitties Family, 2011, 2011-99-1a,b

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
George Washington at Princeton, 1779, American, 1741-1827, Oil on canvas, The Middleton Family Collection

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Portrait of James Baldwin, 1945, Beauford Delaney (American (active Paris), 1901–1979), Oil on canvas, Philadelphia Museum of Art, 125th Anniversary Acquisition. Purchased with funds contributed by The Daniel W. Dietrich Foundation in memory of Joseph C. Bailey and with a grant from The Judith Rothschild Foundation, 1998, 1998-3-1

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Spring Sale at Bendel's, 1921, Florine Stettheimer (American, 1871–1944), Oil on canvas, Philadelphia Museum of Art, Gift of Miss Ettie Stettheimer, 1951, 1951-27-1

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
The Shore of the Turquoise Sea, 1878, Albert Bierstadt, American (born Germany), 1830-1902, Oil on canvas, The Middleton Family Collection

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.

Rising Up: Rocky and the Making of Monuments
April 25-August 2, 2026
Dorrance Galleries
Press Preview: Thursday, April 23, 2026

In a moment of reckoning and reimagining for monuments around the world, this major exhibition, timed to the 50th anniversary of the film franchise, will explore the creation, context, and communities that orbit around the legendary Rocky statue. Organized by guest curator PaulFarber, Director and Co-Founder of Monument Lab and host of the acclaimed podcast The Statue from WHYY/NPR, Rising Up will offer an art history of the Rocky statue, unpacking how this movie prop turned a public art icon into a site of global pilgrimage. The exhibition will showcase over 150 works by more than 50 artists and artifacts spanning more than 2,000 years in an investigation of the changing role of monuments across time. Blending the worlds of art, sports, and popular culture, Rising Up takes on the life of monuments by exploring the profound meanings and mythologies of the Rocky statue.

Full press release.

Philadelphia, Rock Ministries Boxing Club, 2016, Alex Webb, American, born 1952

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Portrait of a Macho Camacho, 1985, Keith Haring, American, 1958 – 1990

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Self Portrait laying on Jack Johnson’s Grave, 2006, Rashid Johnson, American, born 1977, Durst lambda print mounted on panel, Cosmic Studios, Private Collection

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Glenn Ligon, in collaboration with The Fabric Workshop and Museum, Philadelphia. Skin Tight (Ice Cube’s Eyes), 1995. Black pigment on natural canvas, 42 x 13 inches. Edition of 7. Collection of The Fabric Workshop and Museum

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Solidarity, 2023, Hank Willis Thomas, patina bronze, Pace Gallery, Los Angeles. Courtesy of the Artist and Pace Gallery, ROK-132

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Neck Amphora, 510-490 BCE, Artist/maker unknown

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.

Van Gogh’s Sunflowers: A Symphony in Blue and Yellow
June 6–October 11, 2026
Colket Gallery 251

In August 1888, Vincent van Gogh began painting sunflowers spilling from earthenware pots set against yellow and blue backgrounds. Initially intended to decorate Paul Gauguin’s bedroom in the four-room house that Van Gogh rented in Arles, the flowers fascinated Van Gogh and soon took on greater dimensions. This display will bring together two Sunflower paintings, one completed in August 1888, from the National Gallery, London, and one from January 1889, and will consider how the artist used color and brushwork for different expressive effects.

Full press release.

Sunflowers, 1889, Vincent Willem van Gogh (Dutch, 1853 - 1890), Oil on canvas, 36 3/8 × 28 inches (92.4 × 71.1 cm) Framed: 46 3/4 × 39 1/8 × 2 1/4 inches (118.7 × 99.4 × 5.7 cm), The Mr. and Mrs. Carroll S. Tyson, Jr., Collection, 1963, 1963-116-19

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Sunflowers,1888, Vincent van Gogh, Oil on canvas, 92.1 × 73 cm, Bought, Courtauld Fund, 1924, The National Gallery. Photo: © The National Gallery, London

Important: By dImportant: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.ownloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
pma
pma
pma
pma

New Eyes: American Landscape Drawings
June 6–November 2026
Korman Galleries 221-223

To celebrate the 250th anniversary of the nation’s founding, New Eyes: American Landscape Drawings speaks to the broad artistic, cultural, and spiritual pursuit of looking “at the world with new eyes,” as Ralph Waldo Emerson wrote in his seminal 1836 essay, "Nature". The wide range of subjects and styles of these works reveals the diversity of both the American terrain and the responses it inspired among artists of varied cultural backgrounds and visual traditions. Presenting rarely seen drawings from the museum’s collection of works on paper, New Eyes gathers together the forests and deserts, waterfalls and cityscapes that drew artists outdoors to register fleeting impressions of the American landscape; and displays recent acquisitions by Edward Mitchell Bannister and John Singer Sargent.

Plow, 1936, Grant Wood. Philadelphia Museum of Art, Gift of C.K. Williams, II, 2009.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Harvest, 1926, Rockwell Kent. Purchased with the Lola Downin Peck Fund from the Carl and Laura Zigrosser Collection, 1971. © Plattsburgh State Art Museum, State University of New York, USA, Rockwell Kent Collection, Bequest of Sally Kent Gorton, All rights reserved.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Dublin Lake, 1921, John Singer Sargent. Philadelphia Museum of Art, 2025-46-7.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Landscape (Path with Two Figures), c.1881-1883, Edward Mitchell Banninster. Philadelphia Museum of Art, 2025-44-1.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Autumn Leaves, c. 1870, Ellen Robbins. Philadelphia Museum of Art, Purchased with the American Art Revolving Fund, 2016.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.

Workshop of the World: Arts and Crafts in Philadelphia
July 12–October 11, 2026
Morgan, Korman, and Field Galleries (150–155)

As industrialization reshaped life in the late 1800s, artists, designers, and manufacturers in the Philadelphia region embraced the Arts and Crafts principles of handwork, simplicity in design, and truth to materials with the goal of transforming the objects we live with. This exhibition explores Philadelphia's distinctive contributions to the Arts and Crafts movement following the Centennial Exposition of 1876, as makers in many media sought to address the perceived aesthetic decline and social problems that they traced to industrialization. Highlights will include textiles from the Philadelphia School of Art Needlework, ceramics produced by Enfield Pottery, and pieces of furniture by Wharton Esherick and Samuel Yellin, among others.

Full press release.

Radio and Phonograph Cabinet, 1936-1937, Wharton H. Esherick, Cherrywood , 125th Anniversary Acquisition. Gift of Enid Curtis Bok Okun, daughter of Curtis and Nellie Lee Bok, 2001, 2001-201-3

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
The Elk, 1903, Henry Chapman Mercer (Designer), Moravian Pottery & Tile Works, Doylestown, Pennsylvania (Manufacturer), Glazed earthenware, Gift of Henry C. Mercer, 1904, 1904-158

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Cabinet, Late 19th century, Artist/maker unknown, Lacquered wood with horn, mother-of-pearl, jade, bronze, and malachite inlays , Purchased with Museum funds, 1876, 1876-1681

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
All about the Benjamins Century Vase, 2016, Roberto Lugo, Porcelain, china paint, gold luster, Purchased with funds contributed by The Women's Committee and The Craft Show Committee of the Philadelphia Museum of Art, 2016

Important: By doImportant: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.wnloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
The St. George and The Gertrude Mosaic c. 1911-13, Designed by Violet Oakley, American, 1874 – 1961, Made by Enfield Pottery & Tile Works, Springfield Township, Pennsylvania, Pennsylvania, 1906 – c. 1936, Glazed and earthenware, 20 1/2 × 30 3/4 × 3 1/4 inches (52.1 × 78.1 × 8.3 cm) , PMA: Purchased with the American Art Revolving Fund, 2025, 2025-7-1

Important: By Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
pma

Americana: Photographs 1850-1950
July 23–November 1, 2026
Honickman Galleries 156, 157

Drawn from the Philadelphia Museum of Art’s collection, Americana: Photographs 1850-1950 reveals an expansive and complex vision of American identity as seen through photography. Spanning a century of work, this exhibition shows how individuals and communities used the camera to document their lives and define their place within a changing nation.

Full press release.

Untitled (George and Martha Washington) (detail), c. 1876, Artist/maker unknown, 43-2026-1.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
John Williams - Tonkawa, 1898, Frank A. Rinehart. Gift of Harvey S. Shipley Miller, 2014-199-160.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Untitled (Basketball), 1895-1905, Artist/maker unknown. Gift of Peter J. Cohen, 2018-80-2.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
"Working for Victory" Certificate Awarded to Master Painter Willie C. Webb, c. 1942-1945, Artist/maker unknown. Purchased with funds contributed by Harvey S. Shipley Miller,2025-24-1.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Standing Man in Tilted Hat, 1860s, Artist/maker unknown. The Paul Cava Tintype Collection. Purchased with funds contributed by Julie Jensen Bryan and Robert Bryan2018-179-45.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.

Marcel Duchamp
October 10, 2026–January 31, 2027
Dorrance Galleries

The first North American retrospective of Marcel Duchamp’s work in over 50 years, this exhibition will offer 21st-century audiences the first opportunity to view the breadth of the artist’s creative output. The last major Duchamp retrospective was the 1973 survey co-organized by The Museum of Modern Art and the Philadelphia Art Museum, which now holds the world’s largest repository of the artist’s work. The exhibition will present works across six decades of Duchamp’s multifaceted career, spanning all mediums, from painting and sculpture to film, photography, drawings, and printed matter.

Full press release.

From or by Marcel Duchamp or Rrose Sélavy (Box in a Valise), 1935-1941 (contents); 1938 (collotype); deluxe edition, Series A, 1943, Marcel Duchamp, Brown leather valise with handle containing sixty-nine miniature replicas and printed reproductions and one original, Virgin (No. 2), 1938, hand-colored collotype, The Louise and Walter Arensberg Collection, 1950, 1950-134-934

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Bicycle Wheel, 1964 (replica of 1913 original), Marcel Duchamp, Wheel, painted wood, Gift of Galleria Schwarz, 1964, 1964-175-1

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage . . . (Given: 1. The Waterfall, 2. The Illuminating Gas . . . ), 1946-1966, Marcel Duchamp, media assemblage: (exterior) wooden door, iron nails, bricks, and stucco; (interior) bricks, velvet, wood, parchment over an armature of lead, steel, brass, synthetic putties and adhesives, aluminum sheet, welded steel-wire screen, and wood; Peg-Board, hair, oil paint, plastic, steel binder clips, plastic clothespins, twigs, leaves, glass, plywood, brass piano hinge, nails, screws, cotton, collotype prints, acrylic varnish, chalk, graphite, paper, cardboard, tape, pen ink, electric light fixtures, gas lamp (Bec Auer type), foam rubber, cork, electric motor, cookie tin, and linoleum, Philadelphia Art Museum, Gift of the Cassandra Foundation, 1969, 1969-41-1

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915-1923, Marcel Duchamp, Oil, varnish, lead foil, lead wire, and dust on two glass panels , Bequest of Katherine S. Dreier, 1952, 1952-98-1

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Nude Descending a Staircase (No. 2), 1912, Marcel Duchamp, Oil on canvas, The Louise and Walter Arensberg Collection, 1950, 1950-134-59

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the Philadelphia Art Museum. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.

El Anatsui: Prints and Play
Opens December 2026
Morgan, Korman, and Field Galleries (150–155)

This exhibition will present the first comprehensive museum survey of prints by Ghanaian artist El Anatsui. Largely known for constructing large-scale sculptures and site-specific installations by repurposing everyday objects and discarded materials such as aluminum bottle caps, wooden market trays, and metal cassava graters, this presentation will illuminate Anatsui’s pioneering use of nontraditional materials and techniques to push the boundaries of printmaking.

Untitled (Cassava Graters Imprints and Collage), 2016, El Anatsui. Relief print with copper wire, mounted to cut aluminum sheet, 7 ft. 10 1/2 in. × 6 ft. 6 3/4 inches. Printed by Factum Arte, Madrid, Published by October Gallery, London, and Factum Arte, Madrid, Philadelphia Museum of Art: Purchased with the Henry P. McIlhenny Fund, the James D. Crawford and Judith N. Dean Fund, the Lola Downin Peck Fund, and the Alice Newton Osborn Fund, 2025 90 1 , Photo by Oak Taylor-Smith © El Anatsui.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Sage and Charcoal Eclipse, 2016, El Anatsui. Collage of relief and intaglio prints (machine cut), 41 7/16 × 41 7/16 inches. Printed by Factum Arte, Madrid, Published by October Gallery, London, and Factum Arte, Madrid, Photo by Oak Taylor-Smith © El Anatsui.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Untitled (Black on Gold), 2019, El Anatsui. Black ink rubbing on goldleaf Gasenshi paper, 53 1/8 × 53 1/8 inches. Printed by Factum Arte, Madrid, Published by October Gallery, London, and Factum Arte, Madrid, Philadelphia Museum of Art: Purchased with the Henry P. McIlhenny Fund, the James D. Crawford and Judith N. Dean Fund, the Lola Downin Peck Fund, and the Alice Newton Osborn Fund, 2025 90 2, Photo by Jonathan Greet © El Anatsui.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Untitled (with Red), 2014–15, El Anatsui. Stenciling and hand painted enamel on aluminum, Approx. 40 × 36 inches. Printed by Brand X Editions, New York, Published by Benefit Print Project, New York, Middlebury College Museum of Art, Gift of the Benefit Print Project, New York, 2020.017, Photo by Benefit Print Project © El Anatsui.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
OG Metal Cloth, 2023, El Anatsui. Inkjet print on aluminum with copper wire, Approx. 64 × 64 × 4 inches, Printed by Ribuoli Digital, New York, Published by Benefit Print Project, New York. Photo by Christopher Burke Studios. © El Anatsui.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
Untitled, 2025, El Anatsui. Color woodcut (laser cut), 46 × 62 in. (116.8 × 157.5 cm). Printer: Alexis Nutini. Printed and published by Brandywine Workshop and Archives, Philadelphia.

Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.

Media Contact:
Philadelphia Museum of Art, Laura Coogan | pressroom@philamuseum.org

About the Philadelphia Museum of Art:
The Philadelphia Museum of Art is a national and international destination for art, but first, we are Philadelphia’s art museum—for all of the many diverse communities of the city. Through our collections, exhibitions, events, educational activities, celebrations, and more, the museum is a storyteller, and we welcome everyone to be part of the story—our doors are wide open. To learn more, visit www.philamuseum.org.

Instagram / Facebook / X / Threads / YouTube / TikTok: @philamuseumart