Advance Exhibition Schedule

The transformed and expanded SFMOMA has nearly triple its previous exhibition space to show more of its outstanding collection of over 33,000 works, alongside those in the Doris and Donald Fisher Collection, one of the world's greatest private collections of postwar and contemporary art on view at SFMOMA for the next 100 years.

Updated: March 27, 2017

Special Exhibitions

Edvard Munch: Between the Clock and the Bed

On view June 24–October 9, 2017
Floor 4

As a young man in the late 19th century, Edvard Munch’s bohemian pictures placed him among the most celebrated and controversial artists of his generation. But, as he confessed in 1939, his true “breakthrough came very late in life, really only starting when I was 50 years old.” Featuring approximately 45 landmark compositions produced between the 1880s and the 1940s, this focused reappraisal uses the artist’s late paintings as a starting point from which to reevaluate his entire career. Organized in partnership with the Munch Museum, Oslo, and The Metropolitan Museum of Art, New York, Edvard Munch: Between the Clock and the Bed brings together Munch’s most candid and technically daring compositions to reveal a singular modern painter and an artist largely unknown to audiences today.

Edvard Munch: Between the Clock and the Bed is organized by the San Francisco Museum of Modern Art, The Metropolitan Museum of Art, New York, and the Munch Museum, Oslo. The Presenting Corporate Sponsor is Charles Schwab & Co., Inc. Major support is provided by the Bernard Osher Foundation. Generous support is provided by Jacqueline Evans, Linda and Jon Gruber, Franklin and Catherine Johnson, Christine and Pierre Lamond, Diana Nelson and John Atwater and Shannon and Dennis Wong. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Image: Edvard Munch, Self-Portrait. Between the Clock and the Bed, 1940–43; photo: courtesy the Munch Museum, Oslo

Temporary Exhibitions

Larry Sultan: Here and Home

On view April 15–July 23, 2017
Floor 3

This is the first major retrospective to examine the work and career of California artist Larry Sultan. Including Sultan’s early conceptual and collaborative projects of the 1970s as well as his documentary-style photographs, the exhibition will explore the artist’s 35-year career through more than 200 photographs, a billboard, a film and “Study Hall” — a room that offers a unique glimpse into Sultan’s exploratory process as an artist and teacher.

This exhibition is organized by the Los Angeles County Museum of Art (LACMA). Major support for this exhibition at SFMOMA is provided by Bottega Veneta. Generous support is provided by Nancy and Joachim Bechtle, Nion McEvoy, Wes and Kate Mitchell and Chara Schreyer and Gordon Freund.

Image: Larry Sultan, Practicing Golf Swing, from the series Pictures from Home, 1986; chromogenic print; © Estate of Larry Sultan; photo: courtesy the Estate of Larry Sultan

Mike Mandel: Good 70s

On view May 20–August 20, 2017
Floor 3

This exhibition explores the diverse work of conceptual artist and photographer Mike Mandel, focusing on the work he made during the 1970s, a fruitful decade for the artist. Good 70s includes photographs, books and a film, all made during the same period he was collaborating with his friend, photographer Larry Sultan. (A retrospective of Sultan’s work, Larry Sultan: Here and Home, is on view on Floor 3 from April 15 to July 23, 2017.) Mandel’s tongue-in-cheek, socially conscious projects include Myself: Timed Exposures (1971), in which he inserts himself into funny and commonplace situations; Seven Never Before Published Portraits of Edward Weston (1974), which reproduces correspondence he initiated with men named Edward Weston; and his Baseball-Photographer Trading Cards (1975), featuring subjects like Ansel Adams and Imogen Cunningham, as well as work from his book SF Giants, An Oral History (1979).

Nam June Paik: In Character

On view June 3, 2017–January 2, 2018
Floor 2

This exhibition explores Nam June Paik’s pioneering career through the prism of his close friendships with artists, including Joseph Beuys, John Cage and Charlotte Moorman, and his continual negotiation of identity between east and west. Celebrating major gifts and acquisitions from the Hakuta family, Nam June Paik: In Character showcases the late artist’s video and sculpture work, alongside an array of ephemera, drawings and other works on paper that have rarely or never been exhibited. Together, this selection spans Paik’s early Fluxus activity to his final autobiographical works, tracing his playful vocabulary across geographic boundaries and artistic media.

Image: Nam June Paik, Self-Portrait, 2005; San Francisco Museum of Modern Art, Phyllis C. Wattis Fund for Major Accessions; © Estate of Nam June Paik; photo: Katherine Du Tiel

2017 SECA Art Award

On view July 15–September 17, 2017
Floor 4

The 2017 SECA Art Award exhibition features five Bay Area artists in their first major museum presentations. Liam Everett’s paintings reveal traces of their making, evidence of deliberate and repetitive actions that are focused on movement and materials. In her brightly colored abstract paintings and drawings, Alicia McCarthy employs intricate patterns and personal motifs. Using made and found photographs, Sean McFarland reimagines the California landscape. K.r.m. Mooney incorporates natural, industrial and hand-crafted elements in sculptures that explore the relationship between bodies and objects. In her most recent work, Lindsey White takes humor seriously, making photographs and sculptures inspired by stage performers such as comedians and magicians. This exhibition marks the 50th anniversary of the SECA Art Award, established in 1967 to recognize Bay Area artists of exceptional promise and talent with an exhibition and catalogue.


On view July 15, 2017–January 1, 2018
Floor 7 and multiple locations throughout the museum

Sound exhibited in relation to museum architecture is a contemporary new frontier that engages with questions of liveness and immateriality. The first large-scale group exhibition centered on the role of sound at SFMOMA, Soundtracks addresses the perceptual experiences of a variety of public and gallery spaces across Floor 7 and throughout the newly expanded SFMOMA building. The exhibition takes its departure from key contemporary works from the media arts collection and spans sound sculpture, video installation and performance. Moving beyond the medium-specific histories of sound art and electronic music, the museum-wide presentation highlights SFMOMA commissions by Brian Eno and Bill Fontana. It also includes work from artists such as Céleste Boursier-Mougenot, Ragnar Kjartansson, Christina Kubisch, Rafael Lozano-Hemmer, Amor Muñoz, Camille Norment, O Grivo, Susan Philipsz, Anri Sala, Lyota Yagi, among others.

Image: Ragnar Kjartansson, The Visitors, 2012; nine-channel HD video projection with sound, 64 min.; dimensions variable; jointly owned by the San Francisco Museum of Modern Art and The Museum of Modern Art, New York, acquired through the generosity of Mimi Haas and Helen and Charles Schwab; © Ragnar Kjartansson

Noguchi's Playscapes

On view July 15–November 2017
Floor 6

Noguchi’s Playscapes, featuring the work of multifaceted Japanese-American artist Isamu Noguchi, focuses on the artist’s vision of playgrounds and community engagement in public space. Organized by the Museo Rufino Tamayo in Mexico City and on view at SFMOMA in the summer of 2017, this exhibition closes the gap between art and functionality, and revisits Noguchi’s ideas of play, recreation and education.

Image: Isamu Noguchi, Playground equipment for Ala Moana Park, Hawaii, 1939; © The Isamu Noguchi Foundation and Garden Museum, NY

Julie Mehretu

On view Fall 2017
Floor 1

Beginning in the fall of 2017, a commission from Julie Mehretu will be on view in SFMOMA’s free public space. Consisting of two large-scale paintings, each measuring 32 by 27 feet, the commission will cover the expansive, angled walls of the museum’s Evelyn and Walter Haas Jr. Atrium. Mehretu is known for her densely layered abstract paintings and works on paper, which often incorporate the dynamic visual vocabulary of maps, urban planning grids and architectural forms. The installation is part of SFMOMA’s art commissioning program, a vital part of the museum’s commitment to sharing the art for our time with the Bay Area and beyond.

Walker Evans: A Vernacular Style

On view September 30, 2017–February 4, 2018
Floor 3

A major photographer of the 20th century, Walker Evans’s iconic images of the Depression, his photo essays published during the 1940s and 50s and his definition of the “documentary style” influenced generations of photographers and other artists. Organized by the Musée National d’Art Moderne of the Centre Pompidou in Paris and conceived as a complete retrospective of Evans’s work, this exhibition examines the photographer’s fascination with vernacular culture. Through 300 objects assembled from major international collections, the exhibition presents a wide range of Evans’s photographs and his many sources of inspiration. Walker Evans: A Vernacular Style includes documentation of the major subjects that Evans photographed during his career, as well as nearly 100 examples of visual inspiration from his personal collection of postcards, enameled plates, cut images and graphic ephemera. SFMOMA will be the only U.S. venue for this exhibition.

This exhibition is organized by the Centre Pompidou, Paris, in collaboration with San Francisco Museum of Modern Art.

Image: Walker Evans, Barber Shop, New Orleans, 1935, printed 1971; San Francisco Museum of Modern Art, purchase

Single-Gallery Presentations

New Work: Park McArthur

On view April 1–August 27, 2017
Floor 4

Park McArthur works with and through the social conditions of dependency, often in relation to care and access. This exhibition, the artist’s first solo museum presentation, examines monuments, memorials and museums through the materials and processes frequently associated with them. New Work: Park McArthur brings together new and existing pieces that draw on the composition and structure of granite located at both the SFMOMA building and at quarries within the United States, as well as photographs of informal gathering sites, such as picnic tables in a public park. Processes of engraving and inscription question the connections — casual, recreational, ceremonial — between the physical and emotional constructions that bind stone and wood to site and people and locations to time.

Major support for New Work: Park McArthur is provided by SFMOMA’s Contemporaries. Generous support for the New Work series is provided by Alka and Ravin Agrawal, Adriane Iann and Christian Stolz and Robin Wright and Ian Reeves.

Image: Park McArthur, How to get a wheelchair over sand, 2013; courtesy the artist and ESSEX STREET, New York

Paul Klee and Rex Ray

On view May 20–September 10, 2017
Floor 2

This exhibition features selected works by Swiss born modernist Paul Klee (1879–1940) joined by paintings produced by beloved San Francisco artist and designer, Rex Ray (1956–2015). Although separated by both time and geography, Klee and Ray’s work share dazzling formal similarities, including an exploration of geometric forms, the use of vibrant color and playful, organic designs. Located in SFMOMA’s Paul Klee gallery on Floor 2, Paul Klee and Rex Ray features approximately 17 works. Among them is a rarely exhibited, intimate pastel watercolor by Klee from 1917 and an eye-popping collage by Ray from 1999.

Walter De Maria: Surface Waves

On view May 27–November 26, 2017
Floor 5

A Bay Area native who worked at the intersection of Land Art, Minimal Art and Conceptualism, Walter De Maria used geometry and mathematics to create artworks of archetypal clarity that test the limits of sensory perception. Walter De Maria: Surface Waves marks the debut of the artist’s first sculpture to enter SFMOMA’s collection, an arresting floor piece known as Large Rod Series: Circle/Rectangle, 5, 7, 9, 11, 13 (1986). Consisting of massive, precisely honed polygonal rods polished to shine so lustrous as to appear liquid, the work can be shown in three distinct formal configurations, all of which will be presented during the course of the exhibition. Recordings of De Maria’s Ocean Music (1968) and Cricket Music (1964) will play in the galleries daily, offering an immersive sensory experience of rhythm in sculpture and in sound.

Image: Walter De Maria, Large Rod Series: Circle/Rectangle 5, 7, 9, 11, 13, 1986; San Francisco Museum of Modern Art (Phyllis C. Wattis Fund for Major Accessions) and the Dallas Museum of Art (TWO x TWO for AIDS and Art Fund); © 2016 Estate of Walter De Maria

Side by Side: Dual Portraits of Artists

On view June 17–December 3, 2017
Floor 5

Taking the David Hockney painting Shirley Goldfarb + Gregory Masurovsky (1974) as its point of departure, this exhibition focuses on dual portraits of visual artists. Each painting conveys aspects of the subjects’ identities as individuals and artists, while the pairing of sitters draws attention to the personal and psychological connections between them. Side by Side is the first in an ongoing series of small temporary exhibitions drawing on works in the Doris and Donald Fisher Collection at SFMOMA. As the first contextualization of work from the Fisher Collection with works from the museum’s collection and outside lenders, this exhibition demonstrates the combined strength of the two collections. Among the works on view in this exhibition is a new painting by Bay Area artist Travis Collinson.

Image: David Hockney, Shirley Goldfarb + Gregory Masurovsky, 1974; acrylic paint on canvas; 45 1/8 x 84 in. (114.62 x 213.36 cm); The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art; © David Hockney

Louise Bourgeois Spiders

On view September 23, 2017–September 4, 2018
Floor 5

Louise Bourgeois Spiders explores the representation and symbolism of spiders within Bourgeois’s body of work. For Bourgeois, the spider embodied an intricate and sometimes contradictory mix of psychological and biographical allusions. Part reference to her mother, part to herself, the spider represents cleverness, industriousness and protectiveness. Bourgeois directly associated the weaving of a web to her mother’s tapestry needlework. She also referred to spiders as both fierce and fragile, capable of being protectors and predators. Filling the museum’s sculpture gallery on Floor 5, this exhibition illustrates the compelling complexity of Bourgeois’s conception of the spider with a selection of wall and floor spiders in a range of materials and scales from intimate to monumental.

New Work: Kerry Tribe

On view October 7, 2017–February 25, 2018
Floor 4

This solo exhibition premieres an SFMOMA commission by Kerry Tribe, foregrounding questions around empathy, communication and performance. On view in the New Work gallery on Floor 4, the Los Angeles–based artist’s immersive video installation will offer insight into the world of Standardized Patients — professional actors trained to portray real patients in a simulated clinical environment as part of medical student training. Working closely with Standardized Patients in California, Tribe’s project builds upon central themes of her practice including language, perception, consciousness and the willing suspension of disbelief in documentary and narrative contexts.

Generous support for the New Work series is provided by Alka and Ravin Agrawal, Adriane Iann and Christian Stolz and Robin Wright and Ian Reeves.

Image: Kerry Tribe, Untitled (detail), 2017 (production photograph from Standardized Patient); courtesy the artist and 1301PE, Los Angeles; © Kerry Tribe