In the early 1960s, Robert Indiana created a body of work inspired by the work of nineteenth-century American literary figures including Herman Melville and Walt Whitman.

Along with words, most notably “love,” numbers are one of the most frequently reoccurring motifs in the art of Robert Indiana.

On Saturday, June 2, 2018, students, teachers, families, and friends created living representations of works of art from the Albright-Knox's collection and beyond for our annual living art contest, Art Alive.

The space we know as the Gallery for Small Sculpture today previously served as a lecture hall and then, from 1962 until 1992, as the museum’s Art Reference Library.

For many artists in the 1960s, screenprints and posters became primary mediums for creative experimentation and sharing political ideas. 

Living through the cultural shifts of the 1980s, Carrie Mae Weems and other artists examined how images and language—whether in art, media, or advertising—shape and often distort the representation of identity. 

Although Introducing Tony Conrad: A Retrospective is the first retrospective of the art of this pioneering musician, filmmaker, and University at Buffalo educator, Conrad's work has been on view at the Albright-Knox numerous times throughout the years. 

Tony Conrad conceived of his Yellow Paintings not as paintings but as films of incredibly long duration, devoid of the action or narrative typically associated with Hollywood cinema.

In early 1971, Kay Brown, Dindga McCannon, and Faith Ringgold gathered a group of black women to discuss their common frustrations in trying to expand their careers as artists and to build support systems for making their work.

As one of the co-founders of AfriCOBRA, fashion designer Jae Jarrell made one-of-a-kind, brightly colored clothing that celebrates black families and culture.

Each week this month we're highlighting five women artists with works in our collection. This week we focus on artists whose works have been recently acquired by the museum.

Just Above Midtown Gallery supported the work of black artists engaged in noncommercial, nonrepresentational styles, including Lorraine O'Grady.