The New York School

Collage, copying, and color: the New York School was about more than just gestural abstraction.

1945 - 1980

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A plaster cast of a manhole cover from the streets of Manhattan is a testament to this artist's experimental use of materials

Rauschenberg's Signs is a montage of iconic symbols of 1960s culture

When an artist erases another artist's drawing, is it still a drawing, and whose? This work challenges the art definitions and contexts of its time.

A portrait of a president transformed by tragedy.

Frankenthaler doesn’t paint the landscape per se, but offers an intuitive response to Cape Breton in Nova Scotia.

Though hand painted, this image’s regularity erased any sign of individuality or emotional investment in the work.

How does Reinhardt make his “black paintings” with no black at all?

Be patient! From the depths of Reinhardt’s black canvases, color and shapes emerge.

Layers of built-up wax obscure headlines and newspaper images in this painting composed of three canvases.

This collaboratively created work brings the darkly psychological space of Americana into the gallery.

Art on the edge of perception—Ad Reinhardt works with the biology of human sight and rewards close looking.

Rauschenberg includes a pillow and a quilt in this work—elements of a bed—but no one will use it for a nap.

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