Sopheap Pich's Cycle, on view as part of We the People: New Art from the Collection, traces the connections between the human and natural worlds.

Subodh Gupta's This is not a fountain combines used pots and pans and working faucets to speak to the transformation of family and community in contemporary India.

On March 4, 1965, members of The Center of the Creative and Performing Arts at the University at Buffalo performed György Ligeti's Poème symphonique, 1962, as part of the Buffalo Festival of the Arts Today.

Our Colors Make Us Beautiful contains fragments of thought in the three languages that inform artist Muhammad Zaman's identity: English, Bengali, and Arabic.

Work and Play brings together fantastical characters in a rich and vibrant tapestry celebrating the deep cultural diversity of Buffalo’s Broadway-Fillmore neighborhood.

Giant Steps: Artists and the 1960s includes some of the mainstays of the Albright-Knox's collection, like Jasper Johns's Numbers in Color, 1958–59, and Roy Lichtenstein's Head—Red and Yellow, 1962.

Nicolas Schöffer came to the museum in February 1965 to install and maintain his works, including Cysp I, a groundbreaking construction with an electronic “brain.”

At 80 feet tall by 160 feet wide, Wildflowers for Buffalo is the largest mural of artist Louise Jones’s career and the largest AK Public Art Initiative mural to date.

Godin-Spaulding Curator & Curator for the Collection Holly E. Hughes and Senior Registrar for the Collection Laura Fleischmann provide a deeper look into the process of moving, protecting, and conserving sculptures on the Albright-Knox's campus.

Between 1962 and 1965, 297 works of art were added to the Albright-Knox's collection, many of which were on view in Contemporary Art: Acquisitions 1962–1965 in 1966.

Robert Indiana's Hartley Elegies commemorate the seventy-fifth anniversary of the German soldier Karl von Freyburg’s death and his relationship with Marsden Hartley. 

Robert Indiana’s project to realize his famous LOVE sculpture in marble was inspired by the prominence of marble in the history of art.