Ann Temkin, a major force behind the radical rehang of the MoMA collection, is to leave the New York institution. The curator joined in 2003, then five years later became head of the painting and sculpture department.
Inheriting galleries hung chronologically, with mediums strictly separated, she set about breaking down such rigidity. In 2019 the discrete hangs dedicated to photography, book arts, architecture, design and prints and drawings were replaced by an integrated permanent collection. She also expanded the collection, with an eye on including more women, artists of African descent, and artists working outside of Europe and North America.
Among the most talked about of Temkin’s new juxtapositions was Picasso’s Les Demoiselles d’Avignon (1907) with Faith Ringgold’s American People Series #20: Die (1967), which ArtReview described at the time as ‘a high-stakes bet that paid off’.
Temkin’s temporary exhibitions included the current Marcel Duchamp survey (2026), Projects: Marlon Mullen (2024), Lillie P. Bliss and the Birth of the Modern (2024), Matisse: The Red Studio (2022), Judd (2020), Studio Visit: Selected Gifts from Agnes Gund (2018), Picasso Sculpture (2015), Robert Gober: The Heart Is Not a Metaphor (2014), Jasper Johns: Regrets (2014), Ileana Sonnabend: Ambassador for the New (2013), Ellsworth Kelly: Chatham Series (2013), Claes Oldenburg: The Street and The Store and Mouse Museum/Ray Gun Wing (2013), Abstract Expressionist New York (2010), Gabriel Orozco (2009), and Color Chart: Reinventing Color, 1950 to Today (2008).
Read next Siona Wilson on the 2019 MoMA rehang.
