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: May 19, 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 Jim Breyer, 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

Robert Rauschenberg

On view November 18, 2017–March 25, 2018
Floor 4

From the 1940s until his passing in 2008, Rauschenberg worked with everything from photography to items scavenged from New York City streets to vats of bubbling mud. More than 150 of Rauschenberg’s artworks, including prints, sculptures, paintings and Combines (works that incorporate painting and sculpture), will be on view in the retrospective Robert Rauschenberg, celebrating the artist’s continual experimentation with materials and collaborative working processes. The exhibition demonstrates how, with razor-sharp humor and intelligence, Rauschenberg broke down boundaries between disciplines, anticipated many of the defining cultural and social issues of our time and redefined what art could be for the generations of artists who followed.

Temporary Exhibitions

Nam June Paik: In Character

On view June 3, 2017–January 1, 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.

The ongoing care and support for the Nam June Paik Collection at SFMOMA is provided by the Hakuta Family Nam June Paik Conservation Endowed Fund.

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 highlights five Bay Area artists, each with a dedicated gallery, in their first major museum presentations: Liam Everett, Alicia McCarthy, Sean McFarland, K.r.m. Mooney and Lindsey White. Everett’s paintings reveal traces of their making, evidence of deliberate and repetitive actions focused on movement and materials. In her intricately patterned compositions, McCarthy transforms surfaces into bursts of line and vibrant color. Using made and found photographs, McFarland reckons with the challenges of representing the landscape. Mooney incorporates natural, industrial and hand-crafted elements in sculptures that explore the relationships between bodies and objects. In her most recent work, White takes humor seriously, making photographs and sculptures inspired by stage performers such as comedians and magicians. The SECA Art Award, established in 1967 by SFMOMA’s Society for the Encouragement of Contemporary Art, has recognized and brought broader visibility to more than 70 Bay Area artists.

Generous support for the 2017 SECA Art Award is provided by SECA (Society for the Encouragement of Contemporary Art), an SFMOMA art interest group, and Carlie Wilmans.

Image: Alicia McCarthy, Untitled, 2015; photo: courtesy the artist and Jack Hanley Gallery

Noguchi's Playscapes

On view July 15–November 26, 2017
Floor 6

Noguchi’s Playscapes presents ideas about the democratization of art and public space by Japanese-American sculptor Isamu Noguchi (1904–1988). The artist was a fervent believer that sculpture is an aesthetic and cultural tool capable of creating synergy between individuality and society. Observing that playgrounds offer a physical and social interaction not typically seen in a museum, Noguchi designed a number of public spaces where visitors could actively engage with art. The exhibition gathers his designs for several playgrounds, stand-alone play structures and other works that, while serious in subject, employ playful elements to engage the viewer. The body of work presented has become hugely influential for contemporary landscape architects, urban planners, artists and education specialists. Noguchi’s playscapes provoke a reconsideration of the role of art in recreation, education and community.

The exhibition is organized by the Museo Tamayo Arte Contemporáneo and the Fundacíon Olga y Rufino Tamayo, A.C., in collaboration with The Noguchi Museum in New York.

Image: Isamu Noguchi, U.S. Pavilion Expo ’70, 1968; © the Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York; photo: Kevin Noble


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

Soundtracks is the museum’s first large-scale group exhibition centered on the role of sound in contemporary art. Focusing on the perceptual experience of space, the exhibition offers opportunities for discovering public architectural features and galleries throughout the newly expanded building. Spanning sculpture, audio and video installation and performance pieces made since 2000, the show takes its point of departure from key works in the media arts collection. Moving beyond medium-specific histories of sound art and electronic music, this cross-generational presentation highlights past SFMOMA commissions by Brian Eno and Bill Fontana, as well as new and diverse work from over twenty contemporary artists, including Ragnar Kjartansson, Christina Kubisch, Rafael Lozano-Hemmer, O Grivo and Susan Philipsz, among others. Soundtracks is accompanied by a map and an online catalogue.

Support for Soundtracks is provided by the Office for Contemporary Art Norway.

Image: Ragnar Kjartansson, The Visitors, 2012; nine-channel HD video projection with sound, 64 min.; 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; photo: Elísabet Davids, courtesy the artist, Luhring Augustine, New York, and i8 Gallery, Reykjavik

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

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 prints assembled from major international collections, many of which have never before been exhibited, the exhibition presents a wide range of Evans’s photographs and his many sources of inspiration. Walker Evans includes documentation of the major subjects that Evans photographed during his career, as well as nearly 100 documents and objects, including many from the photographer’s 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 the San Francisco Museum of Modern Art.

Major support is provided by Randi and Bob Fisher.

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

Single-Gallery Presentations

Walter De Maria: Surface Waves

On view May 27, 2017–February 4, 2018
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