Karima Amin, storyteller and founder/director of Prisoners Are People Too, Inc., reflects on Hank Willis Thomas’s We The People.
Yuji Agematsu’s zip: 01.01.06 . . . 06.30.06 is an unconventional portrait of a very specific time and place: January 1 through June 30, 2006, in New York.
Educator Ebony Pope reflects on Njideka Akunyili Crosby’s “The Beautyful Ones” Series #5.
With Loud Tactile Painting, Yaacov Agam aimed to disrupt the traditional rules of the art museum.
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.
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.
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.
As part of Giant Steps: Artists and the 1960s, we're premiering Marisol's Tea for Three, part of the artist's bequest to the Albright-Knox.