Virtually explore the MoMA with Smarthistory as your guide
videos + essays
The Surrealist interest in chance, subconscious creativity, and metamorphosis of forms can be seen in Masson's Battle of Fishes
Rothfuss, an important voice in Latin American modernism, rejects recognizable forms by breaking the frame
In Fishes, Peláez turned to the domestic sphere to explore her modern Cuban identity soon after her return to Havana from Paris in 1934.
This furry tea service was a touchstone for Surrealism, but the artist was a victim of her own success.
A house, a boat, an arrow, a clock—Torres-García attempts to humanize modern art with universal symbols
Rauschenberg's Signs is a montage of iconic symbols of 1960s culture
This photograph of Sihuana is a sensitive portrait of an Indigenous Peruvian man in traditional dress.
Arndt’s choice to pose among so many textures, clothes, and props suggests she was aware of the power of photography to interrogate gender roles.
Severini and Boccioni use brilliant colors, abstraction, fragmentation and repetition of forms to create a vibrant whirling energy.
The Futurists called for the destruction of museums, libraries, and cultural monuments and glorified modern technology and the speed of automobiles, trains, and airplanes.
Artist Henri Rousseau painted The Dream in 1910, and its imagery of a woman lounging on a sofa in the jungle was as surreal then as it is today.
Three Musicians looks like a collage made from cut out pieces of colored paper — but it is an oil painting.