"-02 Oríkì (Act II): Tales By Moonlight," 2025, Nifemi Marcus-Bello. Courtesy of the artist. © Ọlájídé Ayẹni
"-02 Oríkì (Act II): Tales By Moonlight," 2025, Nifemi Marcus-Bello. Courtesy of the artist. © Ọlájídé Ayẹni
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.
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11
November
2026
|
11:37 AM
America/New_York

Philadelphia Museum of Art Announces 2027 Exhibitions

Philadelphia, November 10, 2026 – The Philadelphia Museum of Art (PMA) is pleased to announce its program of exhibitions in 2027, including an inaugural site-specific installation at the Rodin Museum by contemporary artist France-Lise McGurn and Sunday Best: The Power and the Glory of Black Style, a major exhibition considering the use of style and self-fashioning in Black diasporic communities, from the 1880s to the present. A new video installation, The Party, by Alex Da Corte and Art Front: Prints and Politics in the United States, 1929–1945 will open in the summer.

Upcoming

Kicking Silk: France-Lise McGurn at the Rodin
Opens February 27, 2027
Rodin Museum

Kicking Silk will present a vibrant, immersive installation of new painted murals by France-Lise McGurn (b. 1983, Scotland) in conversation with a collection of Auguste Rodin sculptures selected by the artist. Drawing inspiration from Rodin’s watercolors and writings on architecture, McGurn will create a bold installation in which these new paintings are complemented by painted furniture and drapes, colored screens filtering the light from the windows, banners on the building’s exterior, and a music playlist.

The exhibition is curated by Eleanor Nairne, The Keith L. and Katherine Sachs Curator and Head of Modern and Contemporary Art, and Tara Contractor, The Agnes and Jack Mulroney Associate Curator of European Painting and Sculpture, with support from Camila Rondon, Departmental Coordinator for Modern and Contemporary Art.

Kicking Silk: France-Lise McGurn at the Rodin is made possible by The Daniel W. Dietrich II Fund for Excellence in Contemporary Art, Zoë S. Pappas, and Katherine Sachs.

  • "The Charm Offensive," 2026. France-Lise McGurn. Oil, marker and spray paint on canvas In two parts, each: 240 x 220 cm; overall: 240 x 440 cm Courtesy of the Artist, MASSIMODECARLO and The Modern Institute/ Toby Webster Ltd., Glasgow
    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.
  • "What me, worry?," 2026. France-Lise McGurn. Oil and marker on canvas In two parts: left panel 200 x 180; right panel 200 x 180 cm; overall 200 x 360 cm Courtesy of the Artist, MASSIMODECARLO and The Modern Institute/ Toby Webster Ltd., Glasgow
    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.
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Sunday Best: The Power and the Glory of Black Style
May 1–August 22, 2027
Dorrance Galleries

Spotlighting the power of Black style, Sunday Best will trace the ways histories of migration, activism, and self-determination are woven into the enduring ritual of dressing in one’s “best” clothing. Told through displays of fashion, photography, painting, and time-based media, this expansive exhibition will consider the use of style and self-fashioning in Black diasporic communities from the 1880s to the present.

Sunday Best is organized by the Philadelphia Museum of Art and the Art Gallery of Ontario.

The exhibition is conceived and curated by Dr. Julie Crooks, Curator, Arts of Global Africa & the Diaspora, Art Gallery of Ontario and Dr. Jason Cyrus, Associate Lecturer, London College of Fashion, with Amanda Bock, The Lynne and Harold Honickman Associate Curator of Photographs, Philadelphia Museum of Art, and Clare Sauro, Cara Keegan Fry Curator at the Robert and Penny Fox Historic Costume Collection at Drexel University.

This exhibition is made possible through the generous support of the Annenberg Foundation Fund for Major Exhibitions, Lois G. and Julian A. Brodsky Installation and Exhibition Fund, the Robert Montgomery Scott Endowment for Exhibitions, and the Kathleen C. and John J. F. Sherrerd Fund for Exhibitions.

  • Woman’s Bodysuit and Headpiece with Veil, Fall/Winter 1998, Designed by Patrick Kelly, Wool knit, nylon net, acetate satin, acetate plain weave, acetate velvet, nylon satin ribbon, plastic, paperboard, Center Back Length (a: Bodysuit): 29 1/2 inches (74.9 cm) b: Headpiece: 11 × 10 × 9 inches (27.9 × 25.4 × 22.9 cm) Length (b: Veil): 11 feet 3 inches (342.9 cm). Philadelphia Museum of Art, 2014-207-17a,b. Gift of Bjorn Guil Amelan and Bill T. Jones in honor of Monica Brown, 2015.
    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.
  • Woman’s “Snail Fantasy” Hat, 1993, Carlos New York Hats, braided straw, Circumference (Head): 21 1/4 inches (54 cm) 11 1/2 × 14 × 17 inches (29.2 × 35.6 × 43.2 cm). Philadelphia Museum of Art, 1994-30-1. Gift of Carlos Lewis, 1994.
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Alex Da Corte: The Party
July 2, 2027–January 2, 2028
Colket Gallery 251

The Party is a major new video installation by Alex Da Corte (b. 1980, United States). Paying homage to pop artist Marisol and her sculptural assemblage of the same name, Da Corte presents a stop-motion animated opera in three acts. This lyric drama stages a communion of twelve women reckoning with how to continue in the wake of their pasts. Reconstructions of Marisol’s sculptures become players in Da Corte’s tragedy about the private cost of living among others.

Alex Da Corte: The Party is co-organized by the Philadelphia Museum of Art and the Buffalo AKG Art Museum and curated by Cathleen Chaffee, Charles Balbach Artistic Director, Buffalo AKG Art Museum. The Philadelphia presentation is curated by Colm Peare, Assistant Curator of Modern and Contemporary Art, Philadelphia Museum of Art.

This exhibition was made possible through the generous support of the Annenberg Foundation Fund for Major Exhibitions and the Daniel W. Dietrich II Fund for Excellence in Contemporary Art.

  • "The Party" (still), 2026. Alex Da Corte. Courtesy the artist.
    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.
  • "The Party" (still), 2026. Alex Da Corte. Courtesy the artist.
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Art Front: Prints and Politics in the United States, 1929–1945
July 10–November 28, 2027
Dietrich Galleries

Artists in the 1930s confronted a world on fire. When the United States economy went into freefall on “Black Tuesday,” October 29, 1929, shockwaves of financial panic radiated as banks failed, factories shuttered, and workers were fired en masse. Art Front: Prints and Politics in the United States, 1929–1945 will spotlight a generation of U.S. artists forged in the crucibles of the Great Depression, Roosevelt’s New Deal, and the threat of fascism. Tracing how these pressures pushed artists out of the studio and into the streets as part of organized struggle, the exhibition will uncover the power and potential of printmaking for responding to the unprecedented crises of the moment.

The exhibition is organized by John Murphy, Philip and Lynn Straus Curator of Prints and Drawings, Frances Lehman Loeb Art Center, Vassar College, and Laurel Garber, The Park Family Associate Curator of Prints and Drawings with curatorial contributions by Louis Marchesano, Senior Curator for Special Projects at the Philadelphia Museum of Art, and Natascha Kirchner, independent curator for the Kollwitz Museum Köln. Catia Colagioia, Exhibition Assistant, and Em Dombrovskaya, The Suzanne Andrée Curatorial Fellow, provided curatorial support.

  • "Workers of the World, Unite!," 1937, Rockwell Kent (1882–1971). Wood engraving on wove paper, 8 x 6 in, Philadelphia Museum of Art, Purchased with the Lola Downin Peck Fund from the Carl and Laura Zigrosser Collection, 1971-2-133. © 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.
  • "Training for War," c. 1942, William Henry Johnson (1901–1970). Color screenprint with brush applied additions on wove paper, 11 1/2 x 17 1/2 inches, Philadelphia Museum of Art, Gift of the Philadelphia Commercial Museum (also known as the Philadelphia Civic Center Museum), Philadelphia, Pennsylvania, 2004 -111-723. © Research inconclusive. Copyright may apply.
    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.
  • "Home Front," c. 1942 1943, Jolán Gross Bettelheim (1900–1972). Lithograph with scraping on wove paper, 15 7/8 × 11 7/8 in, Philadelphia Museum of Art, Print Club of Philadelphia Permanent Collection, 1949-45-10. © Research inconclusive. Copyright may apply.
    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.
  • "The Call to Arms," c. 1938, Edward Hagedorn (1902–1982), Published by Works Progress Administration (WPA), Federal Art Project, (1935–1943). Drypoint on laid paper, 8 7/8 x 15 in., Philadelphia Museum of Art, Purchased with the Lola Downin Peck Fund from the Carl and Laura Zigrosser Collection, 1982-10-312 © United States Government.
    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.
  • "Man with Drill," 1932, Charles Turzak (1899–1986). Woodcut on laid Japanese paper, ed. 42/50, 12 1/16 × 9 1/4 in., Philadelphia Museum of Art, Purchased with the Lola Downin Peck Fund from the Carl and Laura Zigrosser Collection, 1982-10-507. © Research inconclusive. Copyright may apply.
    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.
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Nifemi Marcus-Bello
Opens November 20, 2027
Alter Gallery 276

The first solo museum exhibition dedicated to Lagos-based artist and designer Nifemi Marcus-Bello (b. 1988, Nigeria), this survey of important works from the past decade will explore a practice that is distinguished by its bold material experimentation and deep engagement with questions of place and context.

Nifemi Marcus-Bello is the recipient of the 2027 Collab Design Excellence Award.

Nifemi Marcus-Bello is curated by Tiffany Lambert, The Lisa Roberts and David Seltzer Curator of Modern and Contemporary Design.

  • "-02 Oríkì (Act II): Tales By Moonlight," 2025, Nifemi Marcus-Bello. Courtesy of the artist. © Ọlájídé Ayẹni
    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.
  • "Oríkì (Act III): Whispers of a Trail," 2025, Nifemi Marcus-Bello. Courtesy of the artist and Marta Los Angeles. © Erik Benjamins
    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.
  • "Material Affirmations: Acts I–III at Tiwani Contemporary," 2025, Nifemi Marcus-Bello. Courtesy of the artist and Marta Los Angeles. © Erik Benjamins
    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.
  • "Oríkì (Act I): Friction Ridge," 2023, Nifemi Marcus-Bello. Courtesy of the artist and Marta Los Angeles. © Erik Benjamins
    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.
  • "Oríkì (Act III): Whispers of a Trail," 2025, Nifemi Marcus-Bello. Courtesy of the artist and Marta Los Angeles. © Jide Ayeni
    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.
  • "TM Bench with Bowl from Oríkì (Act II): Tales By Moonlight," 2025, Nifemi Marcus-Bello. Courtesy of the artist and Marta Los Angeles. © Erik Benjamins
    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.
  • "Friction Ridge Bench from Oríkì (Act I): Friction Ridge," 2023, Nifemi Marcus-Bello. Courtesy of the artist and Marta Los Angeles. © Jide Ayen
    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.
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Coming Soon in 2026

Western Graphics: Prints from New Mexico, 1975-1980
November 12, 2026–March 22, 2027
Korman Galleries 221-223

After opening its doors in Albuquerque, New Mexico, in 1975, Western Graphics Workshop provided space for both Native American and non-Native artists to produce fine art lithographs representing the American West. Historically, artistic representations of this region offered romanticized visions of colonial settlement. Over four decades at the print workshop, artists produced works that transformed the genre, using the medium of lithography to ask what and who makes up the American West. The artists whose prints are on view in this exhibition propose diverse answers to these questions by creating new visions of the land they all shared.

The exhibition is curated by Julia Hamer-Light, Barra Foundation Fellow in American Art and Em Dombrovskaya, Coordinator of Academic Engagement, Special Projects.

  • "Enemy Treasures," 1978. Virgina Alice Stroud. Philadelphia Museum of Art, Gift of Dr. Luther W. Brady, Jr., 1979-174-92
    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.
  • "Crustose Lichen on Sandstone," 1979 - 80. Guddie Du Jardin. Philadelphia Museum of Art, 1983 - 196 - 32
    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.
  • "An American Promise," 1980. Ed Singer. Philadelphia Museum of Art, Gift of Dr. Luther W. Brady, 1983 - 196 - 47
    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.
  • "Looking Glass," 1978. Earl Biss. Philadelphia Museum of Art, Gift of Dr. Luther W. Brady, Jr., 1979 - 174 - 24
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  • "Bear Dance," 1977. Carl Nelson Gorman. Philadelphia Museum of Art, 1979 - 174 - 32
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Make Her Mark: An Era of Women in Contemporary Craft
Opens November 14, 2026
Colket Gallery 251

Organized in recognition of the museum’s Women’s Committee and their annual Philadelphia Museum of Art Contemporary Craft Show, Make Her Mark explores the significance of making through women’s perspectives, examining how craft can serve as a vehicle for personal expression, cultural memory, resilience, and resistance. This exhibition celebrates the profound contributions of women to contemporary craft through works drawn from the collection spanning the past sixty years. Many of these works were purchased with funds from a dedicated Women’s Committee acquisition grant, while others were donated by influential figures from the craft community. Make Her Mark brings into focus how women have shaped the field of craft broadly as both artists and supporters.

Make Her Mark is curated by Elisabeth Agro, The Nancy M. McNeil Curator of Modern and Contemporary Craft and Decorative Arts.

This exhibition is made possible through the generous support from The Laura and William C. Buck Endowment for Exhibitions and the Robert Montgomery Scott Endowment for Exhibitions

  • "I've Trampled a Million Pretty Flowers," 1995. Judith Schaechter. Purchased with funds contributed by The Women’s Committee and the Craft Show Committee of the Philadelphia Museum of Art, 1995- 81-2. © Judith Schaechter.
    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.
  • "Private Affair II," 1986. Claire Zeisler. Philadelphia Museum of Art, purchased with funds contributed by The Women’s Committee and the Craft Show Committee of the Philadelphia Museum of Art, 1987- 49-2.
    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.
  • "Spring Outing," 2000. Betty Woodman. Philadelphia Museum of Art, 125th Anniversary Acquisition. Purchased with funds contributed by The Women's Committee and the Craft Show Committee of the Philadelphia Museum of Art in honor of the 125th Anniversary of the Museum and in memory of Barbara B. Rubenstein, 2001-16-1a—c. © Woodman Family Foundation / Artists Rights Society (ARS), New York. A downloadable image is unavailable for this object due to copyright, trademark or related rights.
    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.
  • "Panther Bench,"1992. Judy Kensley McKie. Purchased with funds contributed by The Women’s Committee and the Craft Show Committee of the Philadelphia Museum of Art, 1993-33-1. © 1992 Judy Kensley McKie.
    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.
  • "Grand Prayer Rug," 1966. Sheila Hicks. Philadelphia Museum of Art, purchased with funds contributed by The Women’s Committee and the Craft Show Committee of the Philadelphia Museum of Art, 1994-80-1. © Sheila Hicks.
    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.
  • "A Snake without a Head Is Just a Rope," 1994. Syd Carpenter. Philadelphia Museum of Art, purchased with funds contributed by The Women’s Committee and the Craft Show Committee of the Philadelphia Museum of Art, 1995-19-1. © Syd Carpenter.
    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.
  • "Evening," 1995. Gyöngy Laky. Philadelphia Museum of Art, purchased with funds contributed by The Women’s Committee and the Craft Show Committee of the Philadelphia Museum of Art, 1998-10-4. © Gyöngy Laky.
    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.
  • "Martha," 1999. Cynthia Troops. Philadelphia Museum of Art, Gift of Gail M. Brown, 2012 - 89 - 5 . © Cynthia Toops.
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  • "Red Cabinet," 1990. Wendy Maruyama. Philadelphia Museum of Art, 125th Anniversary Acquisition. Gift of Jane and Leonard Korman, 2001-92-1. © Wendy Maruyama.
    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.
  • "Leaf Edges," 1986. Diane Itter. Philadelphia Museum of Art, Gift of Nancy M. McNeil, 2018-180-2. © Estate of Diane Itter.
    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.
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El Anatsui: Prints and Play
December 19, 2026–May 2, 2027
Morgan, Korman, and Field Galleries (150–155)

El Anatsui: Prints and Play will be the first comprehensive museum survey of prints by El Anatsui (b. 1944). The Ghanaian artist is widely known for his large-scale sculptures and site-specific installations constructed from repurposed everyday objects and discarded materials such as aluminum bottle caps, wooden market trays, and metal cassava graters, but this presentation will illuminate his pioneering use of nontraditional materials and techniques to push the boundaries of printmaking.

Full press release.

  • 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.
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Ongoing

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

The first major U.S. retrospective in more than 50 years dedicated to the work of Marcel Duchamp (1887–1968), this exhibition features a chronological display of approximately 300 works from a career spanning painting, drawing, sculpture, photography, film, printed matter, and the unclassifiable works known as readymades. The last major U.S. Duchamp survey took place in 1973–74, co-organized by the Philadelphia Museum of Art—home to the world’s largest Duchamp collection—and The Museum of Modern Art (MoMA) in New York. Co-organized by the same two institutions, this exhibition reappraises an oeuvre that transformed the very idea of what art could be.

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.
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A Nation of Artists 
April 12, 2026–July 5, 2027 
American Art Galleries

Three collections of American art—the Philadelphia Museum of Art, 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.
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Media Contact:
Philadelphia Museum of Art, Carolynn McCormack | pressroom@philamuseum.org

About the Philadelphia Museum of Art:
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