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Open Rehearsals (For a new song, for a new city)
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Predictive Engineering3 Colloquium
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Rafael Lozano-Hemmer’s biometric portraiture
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Lindsey White: How humor threatens us
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Jacqueline Kiyomi Gordon: The slipperiness of sound
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Alicia McCarthy: Visually listening to bands of colors
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Sean McFarland’s metaphysical way of looking
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Richard T. Walker on landscape and desire
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Liam Everett: The art of obstruction
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Christina Kubisch: Discovering new sounds
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How ORFN’s graffiti inspires Alicia McCarthy
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Sean McFarland: Landscape photography as failed record
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Larry Sultan: Documenting a hidden side of the suburbs
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Larry Sultan discovers his family through photography
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Changes in Photography: Three Symposia
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Sun pictures: Henry Fox Talbot and the first photographs
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Pictures from a glass house: Julia Margaret Cameron’s portraits
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Peaks and perils: The life of Carleton Watkins
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“Crimes against photography”: Man Ray and the "rayograph"
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Journey through the soundscape of a boiler room with Bill Fontana
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Bill Fontana: The makings of a sound sculptor
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Anselm Kiefer: “My paintings change”
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Park McArthur: Places of commemoration
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Robert Frank as a young artist
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Will Rogan's Mediums channel artists lost to time
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Lieko Shiga on Kitakama village and the 2011 tsunami
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PlaySFMOMA: Augmented Reality Game Jam
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Tomás Saraceno: Building “future flying cities” with spiders
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Online Screening: Bruce Conner
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Previously Screened: VALSE TRISTE
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Installation of Richard Serra’s Sculpture Sequence
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Julia Scher discusses the impact of the Artist Initiative
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Anselm Kiefer: History is a clay
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Previously Screened: TAKE THE 5:10 TO DREAMLAND
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Coming Soon: VALSE TRISTE
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William Kentridge: The Refusal of Time
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Marco Breuer: Pushing the boundaries of photography
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Previously Screened: AMERICA IS WAITING
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Previously Screened: TEN SECOND FILM
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Njideka Akunyili Crosby’s Janded: Between two cultures
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Ursula von Rydingsvard on sculpture and ancestry
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Sohei Nishino’s maps trace more than the city
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Bruce Conner: It’s All True
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Chris Kallmyer: A Paradise Choir
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Daido Moriyama on the essence of photography
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Nobuyoshi Araki’s “more is more” approach to photography
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Eikoh Hosoe: Does photography reflect truth?
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Tomoko Sawada’s self-portraits create familiar characters
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Rinko Kawauchi contemplates the small mysteries of life
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Nobuyoshi Araki: Journey through life and death
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Akiyoshi Taniguchi’s meditations on photography

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Keizo Kitajima in the former USSR
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Issei Suda on the drama of photography
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Daido Moriyama on social rebellion in 1960s Japan
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Asako Narahashi’s photos from the sea
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Kikuji Kawada on the Atomic Bomb Dome and postwar Japan
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Ishiuchi Miyako: What is a scar?

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Ishiuchi Miyako's early life near Yokosuka’s U.S. military base

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Hiromi Tsuchida: Documenting Japan’s past and present
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Visual Activism
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Is Photography Over?
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Craig Dykers: Designing the New SFMOMA
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Jürg Lehni’s extraordinary drawing machine
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Thomas Schütte: Playing with materials
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Robert Frank on photographing The Americans
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Dana Schutz on the personalities of paintings
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Anthony Hernandez: Peeling away the layers of the Mojave Desert
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Robert Adams: Photographing a “landscape of mistakes”
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Ron Nagle: The sculptural language of hair loss
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Harrell Fletcher and Miranda July on Learning to Love You More
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Ron Nagle on the ceramic “revolution”
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Our Expansion
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Sol LeWitt’s Loopy Doopy: The Installation
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Museum as Producer: Julia Scher’s Predictive Engineering
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Ken Hakuta: My uncle Nam June Paik
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The Living Wall
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Jananne Al-Ani on the Middle Eastern landscape
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The Artist Initiative: Installing Ellsworth Kelly
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Leonor Antunes on the architecture of inspiration
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Julia Scher: Predictive Engineering
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Claudy Jongstra on art and sustainability
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Jason Lazarus: “At sea” with found photographs
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Robert Adams's sobering photographs of clearcutting in the Pacific Northwest
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How Mike Mandel created new meaning from old photographs
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Slices of time: Eadweard Muybridge’s cinematic legacy
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Mike Mandel’s Baseball-Photographer Trading Cards
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Michael Jang’s family snapshots
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Catherine Opie’s groundbreaking queer portraiture
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The Country Dog Gentlemen Travel to Extraordinary Worlds: Georgia O’Keeffe
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Art + Data Day
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Janet Delaney on hand-painted signs
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Janet Delaney on South of Market
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Judith Joy Ross: Protest the War
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Mark Bradford’s Open Studio Introduction
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Leo Rubinfien: How do you photograph a psychological wound?
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An-My Lê: Landscapes of war
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Rabih Mroué on “the war against the image”
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Michael Jang: The night the Sex Pistols broke up
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How Michael Jang photographed the most glamorous celebrities of 1970s Beverly Hills
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John Divola: “Time is a verb”
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John Divola: Photographing abandoned houses
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Fred Wilson’s museum interventions

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Jon Rubin’s Pictures Collected From Museum Visitors’ Wallets
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Reinhard Mucha: Showing the show
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Katharina Fritsch’s giant animal sculptures
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The Country Dog Gentlemen Travel to Extraordinary Worlds: Diego Rivera
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The Country Dog Gentlemen Travel to Extraordinary Worlds: Robert Rauschenberg
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The Country Dog Gentlemen Travel to Extraordinary Worlds: Jackson Pollock
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The Country Dog Gentlemen Travel to Extraordinary Worlds: Piet Mondrian
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The Country Dog Gentlemen Travel to Extraordinary Worlds: René Magritte
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The Country Dog Gentlemen Travel to Extraordinary Worlds: Frida Kahlo
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Richard Deacon on being a “fabricator”
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The Country Dog Gentlemen Travel to Extraordinary Worlds: Introduction
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The Country Dog Gentlemen Travel to Extraordinary Worlds: Joseph Stella
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The Country Dog Gentlemen Travel to Extraordinary Worlds: Henri Matisse
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The Country Dog Gentlemen Travel to Extraordinary Worlds: Louise Bourgeois
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The Country Dog Gentlemen Travel to Extraordinary Worlds: Sargent Johnson
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Antony Gormley answers: What is art?
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Bearing Witness
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Hilla and Bernd Becher invented a new genre of photography
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Videos
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Petah Coyne: “Materials are a language”
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Tony Cragg, radical materialist
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Tony Cragg’s utilitarian materials
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Ellsworth Kelly explains abstraction
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Paul Kos in the Sierras
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SFMOMA’s New Visual Identity
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Fred Wilson on “degradaria”
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Njideka Akunyili Crosby on painting cultural collision
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Mildred Howard’s houses hold memories
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Stephen Shore ditched school for Warhol’s Factory
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Richard Learoyd takes us inside his giant homemade camera
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Stephen Shore: Taking photographs that “feel like seeing”
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Re-framed: Social Practice Brings the Public into the Picture
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The message is for the media: Ant Farm and Media Burn
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A Neighborhood Thing: The Mission Art Scene in the '90s
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Doug Hall’s giant Tesla coil

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Kill Your TV: How Bay Area Video Art Exploded in the 1970s
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Doug Hall on his utopian generation
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Ant Farm on becoming “underground architects”
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Brice Marden: What painting is all about
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but what you want is far away
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Brice Marden: Abstract painting can take you to paradise
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Peter Campus on his most famous work and why he hates it
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Tony Oursler’s “electronic effigies”: Between two spaces
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Vito Acconci wants revolution
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Hans Haacke: Fighting the establishment
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Peter Campus says, “You can’t see yourself”
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Abelardo Morell and the magic of the camera obscura
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Liz Deschenes on her camera-less photography
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Alison Rossiter gives new life to old photographic paper

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Barbara Bosworth looks slowly and observes the landscape
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Susan Meiselas on “the ethics of seeing”
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Markus Schinwald’s strange prostheses and erotic table legs
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John Baldessari on fighting the “photography” label
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Jim Melchert on his slide projection Changing Walls
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John Baldessari explains his “strange mind”
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Sophie Calle’s voyeuristic portraits of hotel rooms
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Mel Bochner transforms a wall with chalk
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Sophie Calle on becoming an artist
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Ewan Gibbs on his San Francisco drawings
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Visual Activism symposium: Jerome Reyes, Nine Yamamoto-Masson, and Srinivas Aditya Mopidevi
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Visual Activism symposium: Carlos Motta
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Visual Activism symposium: Gran Fury
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Visual Activism symposium: Lisa Parks
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Visual Activism symposium: Shannon Jackson and Tina Takemoto
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Visual Activism symposium: Jeff Derksen and Sabine Bitter
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Visual Activism symposium: Michelle Dizon
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Visual Activism symposium: Favianna Rodriguez and Teddy Cruz
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Seeing yourself seeing: Olafur Eliasson
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Charles R. Garoian: The teacher who was called to the principal’s office
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Kateřina Šedá holds the Los Altos World Records
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Jessica Stockholder creates an intersection with the intersection
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Jeremy Blake: A waking dream
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Spencer Finch takes viewers from technicolor to black and white
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Christian Jankowski needs subtitles for Silicon Valley Talks
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Jonn Herschend on finding beauty behind the scenes
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Larger than life! David Wilson and his sixteen-foot-high ink drawing Frog Woman Rock
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Alec Soth photographs loneliness in Silicon Valley
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Soul food for the brain: Chris Johanson and public sculpture
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Mike Mills finds the past in the present, interviewing the “futurists” of Los Altos
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Open your eyes! Rediscover San Francisco with David Wilson’s Arrivals
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Fake snacks and jack-o’-lanterns: Josh Faught takes us to the Neptune Society Columbarium
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Zarouhie Abdalian makes social sound in downtown Oakland

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Where did all the art go? Jonn Herschend and stories of the SFMOMA evacuation
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Trailer for Stories from the Evacuation
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Breaking Ground on the New SFMOMA
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Time-Lapse: Mark di Suvero at Crissy Field
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Gu Wenda on the artist as peacemaker
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How Gu Wenda turns hair and glue into works of art
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Bow and arrow to the heart: Mark di Suvero’s love for the Golden Gate
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Gates of steel: Mark di Suvero and his path to welding
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Mark di Suvero likes to work with his hands
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“Too Much Is Enough”: A Talk on Garry Winogrand
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From Revlon to Robert Smithson: Mary Heilmann finds inspiration everywhere
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Gibberish and human hair: What it takes to install Gu Wenda
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Lynn Hershman Leeson’s seductive chat bot
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Leo Villareal on The Bay Lights
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AA Bronson and his fictional museum Cornucopia
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Mapping nine centuries of a Romanian city with Tiffany Chung
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Let’s talk about sex: AA Bronson pushes critics to consider queer culture
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Building Our Future: SFMOMA Expands
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Chuck Close on following the grid
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Chuck Close on painting with both hands
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Chuck Close on primordial ooze and famous friends
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Kevin Killian and Poets’ Theater Present Wet Paint
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The story of Ernest Cole, a black photographer in South Africa during apartheid
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In Boksburg, David Goldblatt photographs the reality of apartheid
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The photographs of South African nightclub bouncer Billy Monk
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Photographer David Goldblatt exposes humanity in former criminals
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Jim Campbell: Transmitted in light
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Fallen Sky: Naoya Hatakeyama goes beneath the earth for art
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Naoya Hatakeyama on what’s awe-some
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Tiffany Chung: Maps are about people
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The Futurefarmers stand on one leg, together
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The Futurefarmers on picnics and Powers of Ten
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Lamia Joreige on disappearance and memories of war
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Lamia Joreige maps Beirut’s tumultuous past and future
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Yto Barrada on how the Strait of Gibraltar shapes life in Tangier
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Akram Zaatari describes Hashem el Madani’s “photography of the working class”
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Yto Barrada on laziness as resistance

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Adrian Ghenie: Attending art school in Communist Romania
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Adrian Ghenie: Painting a dictator in the moment before his execution
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Adrian Ghenie started a gallery because he was a “failure”
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Óscar Muñoz created an art space that thrives on uncertainty
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Óscar Muñoz explores memory through ephemeral materials
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Tuan Andrew Nguyen: Straddling two cultures and building a platform for art
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Tuan Andrew Nguyen: Using graffiti and breakdancing to rebrand a country
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Akram Zaatari: Collecting images from the Arab world
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Cliff Hengst: Maybe
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Parra on getting “weirded out”
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Trevor Paglen on the secret history of early Yosemite photography
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Trevor Paglen photographs classified “black sites”
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Robert Arneson’s controversial portrait of Mayor Moscone
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Alejandro Cartagena on photographing while walking through dry riverbeds
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Pablo López Luz on shooting the landscape of Mexico City
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How Daniela Rossell’s photographs came to be viewed as images of Mexico’s “poster girls of corruption”
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Daniela Rossell questions “female territories”
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Stephen Shore Artist Talk
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Time-lapse of Parra’s mural Weirded Out
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Stephanie Syjuco creates knockoffs of works of art
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Miranda July and Harrell Fletcher’s Learning to Love You More: Before web 2.0
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Miranda July and Harrell Fletcher’s Learning to Love You More: Piggybacking assignments
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Miranda July and Harrell Fletcher’s Learning to Love You More: Instant acceptance
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Advice from Richard Serra: Clear away the clutter and do your own thing
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Richard Serra answers: Why make art?
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How do you take notes? Richard Serra draws his thoughts
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Have you seen my bird? Rigo 23’s “found lost bird” posters

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David Best is a burning man
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William Allan brings books back to life
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Hung Liu: There’s dignity in a woman handling a machine
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From cross-stitch to cake with Gay Outlaw
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Jordan Kantor on the act of looking and looking again
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Graffiti is a sport, and Barry McGee a sportsman
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Squeak Carnwath paints the places in her mind
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Will Rogan: “We are on this planet that’s spinning around the sun and it’s totally insane”
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The legendary Wayne E & Wayne R show
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Kamau Amu Patton and the machine that’s always learning
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A large and flickering grid of light by Jim Campbell
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Reimagining the Museum: The First Sketches
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Talking trash, over Skype, with Tiago Carneiro da Cunha
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Klara Kristalova on the darker side of childhood
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Traveling “through the eye of history” with photographer Daniel Schwartz
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Daniel Schwartz: “My university is the road”
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Jim Goldberg: Why do we keep making the same mistakes?
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Jim Goldberg’s compassionate lens
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Richard Misrach: Graffiti in the wake of Hurricane Katrina
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The Steins: Visionary collectors of the avant-garde
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The mecca of modern art: Stein salons in Paris
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The friendship of Monsieur Matisse and Mrs. Stein
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Picasso and Gertrude Stein: A friendship of inspiration
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The Steins: Bay Area natives and premier collectors of modern art
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Rosana Castrillo Diaz on finding meaning in the everyday
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Harrell Fletcher and Miranda July’s Learning to Love You More: Web-based assignments designed to get people to leave their computers
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Stephanie Syjuco on the economy of art
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Vik Muniz on his series The Best of Life.
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Douglas Gordon on working with elephants
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Helène Aylon “midwifes” an image
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Wright Morris: Clara, Holy Things, and House or Ark
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Wright Morris: God’s Country, End of the World, Grain Elevators, and Cover the People
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Wright Morris: Dear Son Have Moved, Eddie Cahow, and Model T
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Wright Morris: Abandoned House, Ed’s Room, and Robin Hood
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Donald Fisher on collecting art
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Chuck Close on why painting portraits was the dumbest thing to do
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Philip Guston at work in his studio
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Louise Bourgeois’s cluster of spiders
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Robert Rauschenberg pays tribute to John Cage
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75 Reasons to Live: Mark Jensen on Bruce Nauman’s Wax Impressions of the Knees of Five Famous Artists
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75 Reasons to Live: Lynn Hershman Leeson on Tina Modotti’s Convent of Tepotzolán, Mexico
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75 Reasons to Live: Janet Bishop on Watercolors by schoolboys, ages 10-16, from the Chirodzo Art Centre, Southern Rhodesia, 1957
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75 Reasons to Live: Michelle Tea on Andy Warhol’s Self-Portrait
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75 Reasons to Live: Sanjit Sethi on Augustus William Ericson’s Slab of Redwood for a London Dining Table Designed to Seat Forty Guests—Diameter 15 Feet
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75 Reasons to Live: Leslie Shows on Arthur Dove’s Silver Ball No. 2
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75 Reasons to Live: Johnny Ray Huston on Diane Arbus’s Xmas Tree in a Living Room, Levittown, L.I.
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75 Reasons to Live: Joseph Becker on Giovanni Pintori’s Poster
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75 Reasons to Live: Sam Green on Unknown artist’s Untitled [Women Racing]
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75 Reasons to Live: Chris Perez on Barry McGee’s Untitled
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75 Reasons to Live: Megan Brian on Marilyn Minter’s Strut
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75 Reasons to Live: Apsara DiQuinzio on Cady Noland’s Enquirer Page with Eyes Cut Out
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75 Reasons to Live: Lisa Robertson on Eva Hesse’s Sans II
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75 Reasons to Live: Jens Hoffmann on Felix Gonzalez Torres’s “Untitled” (America #1)
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75 Reasons to Live: Anne McGuire on Anne Bremer’s Sentinels
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75 Reasons to Live: Jeffrey Fraenkel on Diane Arbus’s A Young Brooklyn Family Going for a Sunday Outing, N.Y.C.
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75 Reasons to Live: Suzanne Stein on Constant’s New Babylon
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75 Reasons to Live: Dominic Willsdon on László Moholy-Nagy’s Vom Funkturm (From the Radio Tower)
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75 Reasons to Live: John Zarobell on Bruce Conner’s LOOKING GLASS
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75 Reasons to Live: Meg Shiffler on Felix Gonzalez-Torres’s “Untitled” (America #1)
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75 Reasons to Live: Margaret Tedesco on Claude Cahun’s Untitled (Self-Portrait)
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75 Reasons to Live: Rachel Rosen on Eadweard Muybridge’s Panorama of Francisco from California Street Hill
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75 Reasons to Live: Michelle Barger on Doris Salcedo’s Unland: irreversible witness
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75 Reasons to Live: Chip Lord on Terry Fox’s A Metaphor
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75 Reasons to Live: Jennifer Dunlop Fletcher on J. B. Blunk’s Invisible Presence
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75 Reasons to Live: Tony Labat on Howard Fried’s Inside the Harlequin: Approach-Avoidance III and II
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75 Reasons to Live: Sandra Phillips on Alfred Stieglitz’s Georgia O’Keeffe — Neck
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75 Reasons to Live: Beth Lisick on Chris Johanson’s Untitled (Figures with black presence)
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75 Reasons to Live: Peter Samis on Wright Morris’s Storefronts, Western Kansas
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75 Reasons to Live: Duane R. Deterville on Pablo Picasso’s Tête de trois quarts (Head in Three-Quarter View)
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75 Reasons to Live: Stephen Hartman on Felix Gonzalez-Torres’s “Untitled” (Golden)
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75 Reasons to Live: Stephanie Hanor on Bruce Conner’s SOUND OF ONE HAND ANGEL
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75 Reasons to Live: Renny Pritikin on Robert Arneson’s Harvey
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75 Reasons to Live: Henry Urbach on Ewan Gibbs’s San Francisco
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75 Reasons to Live: Julio César Morales on Ansel Adams’s Diego Rivera Painting the Fresco “Still Life and Blossoming Almond Trees”
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75 Reasons to Live: Lawrence Rinder on Lebbeus Woods’s Quake City, from the San Francisco Project: Inhabiting the Quake
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75 Reasons to Live: Carey Perloff on Robbert Flick’s Along Ocean Park, Looking West, Summer
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75 Reasons to Live: Lori Fogarty on Dorothea Lange’s Migrant Worker, Coachella Valley, California
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75 Reasons to Live: Catherine Wagner on Mike Mandel and Larry Sultan’s Untitled, from the installation Evidence
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75 Reasons to Live: Craig Baldwin on Wallace Berman’s Semina 7
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75 Reasons to Live: Martin Venezky on Unknown artist’s Untitled [California Rancher/Cowboy in Front of a Backdrop]
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75 Reasons to Live: Kaja Silverman on Robert Rauschenberg’s Cy + Roman Steps (I-V)
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75 Reasons to Live: Rick Prelinger on Willard E. Worden’s Observatory in Ruins, Golden Gate Park, San Francisco
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75 Reasons to Live: Kamau Patton on Nata Piaskowski’s Untitled [Playing Handball]
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75 Reasons to Live: Stephanie Syjuco on Sherrie Levine’s La Fortune (After Man Ray)
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75 Reasons to Live: Trevor Paglen on Will Rogan’s Untitled, from the series Public Sculpture
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75 Reasons to Live: B. Ruby Rich on Edward Weston’s Legs in Hammock, Laguna
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75 Reasons to Live: Renée Green on On Kawara’s MAR. 16, 1993, from the Today series
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75 Reasons to Live: Rudolf Frieling on Felix Gonzalez-Torres’s “Untitled” (Golden)
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75 Reasons to Live: Glen Helfand on Ed Ruscha’s Thirty-four Parking Lots in Los Angeles
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75 Reasons to Live: Yves Béhar on Barry McGee’s Untitled
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75 Reasons to Live: Iain A. Boal on Elaine Mayes’s Interracial Couple and Baby, Golden Gate Park, August, 1968
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75 Reasons to Live: Kenneth Foster on Joanne Leonard’s Sad Dreams on Cold Mornings
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75 Reasons to Live: Pamela Z on Robert Rauschenberg’s Collection (formerly Untitled)
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75 Reasons to Live: Neal Benezra on Clyfford Still’s Untitled [formerly Self-Portrait]
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75 Reasons to Live: Allison Smith on J. Wilbur Sandison’s Quilt
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75 Reasons to Live: Kevin Killian on Andy Warhol’s National Velvet
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75 Reasons to Live: Carrie Pilto on Henri Matisse’s La fille aux yeux verts (The Girl with Green Eyes)
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75 Reasons to Live: Kota Ezawa on Jeff Koons’s Michael Jackson and Bubbles
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75 Reasons to Live: Jennifer A. González on Felix Gonzalez-Torres’s Untitled
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75 Reasons to Live: Chris Sollars on Bruce Nauman’s Wax Impressions of the Knees of Five Famous Artists
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75 Reasons to Live: Jennifer Sonderby on Leslie Shows’s Two Ways to Organize

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75 Reasons to Live: Rex Ray on Andy Warhol’s Self-Portrait
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75 Reasons to Live: Anne Walsh on Unknown artist’s Untitled [Women Racing]
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75 Reasons to Live: Raelle Myrick-Hodges on John Collier Jr.’s Bureau with Portraits and Mementos (and self-portrait), Picuris Pueblo, NM
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75 Reasons to Live: Ellen Arenson on Clyfford Still’s Untitled, 1951-52
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75 Reasons to Live: Bill Fontana on Dan Graham’s Double Cylinder (The Kiss)
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75 Reasons to Live: Gary Garrels on Robert Ryman’s Untitled, 1958
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75 Reasons to Live: Robert Bechtle on Richard Diebenkorn’s Coffee
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75 Reasons to Live: Whitney Chadwick on Ed Ruscha’s Every Building on the Sunset Strip
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75 Reasons to Live: Sarah Roberts on Terry Fox’s Pendulum Spit Bite
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75 Reasons to Live: Chad Coerver on Anthony Hernandez’s Oakland #1
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75 Reasons to Live: Rebecca Solnit on Jay DeFeo’s The Verónica
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75 Reasons to Live: Lisa Sutcliffe on Penelope Umbrico’s 5,377,183 Suns from Flickr (Partial) 4/28/09
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David Ireland at 500 Capp Street
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Form, growth, behavior: The making of Andrew Kudless’s “bulbous” sculpture
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Teresita Fernández harnesses the behavior of fire
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Beach life: William Kentridge and Tide Table
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Premature mortality: William Kentridge reflects on the AIDS epidemic in South Africa
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William Kentridge: transformation with animation
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William Kentridge and his animated alter egos
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Kerry James Marshall: Art is a series of visual problems that need to be solved
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Kerry James Marshall: Requiem for a decade
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Completely out of whack: Kerry James Marshall on his murals for SFMOMA
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Kerry James Marshall wants to see black people in art, all the time
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Kerry James Marshall goes grisaille
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All things must come to an end: the deinstallation of Sol LeWitt’s SFMOMA murals

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The many lives of Lee Miller
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Time-lapse of Ann Hamilton’s installation of indigo blue
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Ann Hamilton gives voice to Charleston’s invisible history
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Ann Hamilton evokes the working class with the color blue
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“Un-reading”: Ann Hamilton erases texts to make room for other stories
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Olafur Eliasson: Everyone sees a different rainbow
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In the studio with Olafur Eliasson
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Olafur Eliasson’s machine: A phenomenon maker
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Experimenting in the lab with Olafur Eliasson
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Olafur Eliasson wants you to slow down and take your time
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Discovering a hidden Picasso
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Why would Picasso hide a painting?
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Brice Marden on finding inspiration in olive groves
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What does a solid-gray painting have to do with Bob Dylan? Brice Marden explains
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Brice Marden: How to look at paintings
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Jeff Wall advocates for staged photography
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Jeff Wall: “I begin by not photographing”
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Painting versus photography: Jeff Wall compares and contrasts
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Henry Wessel: Photographing while “half asleep”
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Henry Wessel: The view from the driver’s seat
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Henry Wessel: Why it’s better to see without recognizing
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Anselm Kiefer: An artist is “outside of the world”
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Anselm Kiefer: We use mythology to give life meaning
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Why Deborah Luster decided to photograph prisoners
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“The people who stole the prisoners”: Deborah Luster’s accidental performance work
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“Hold these people in your hand”: Deborah Luster’s photographs of prisoners
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Deborah Luster: Helping prisoners show themselves to the world
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Tina Modotti and Edward Weston found an artists’ paradise in Mexico
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Matthew Barney puts his body into his work
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How Richard Serra influenced Matthew Barney
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Matthew Barney and ancient Japanese whaling traditions
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Matthew Barney on ambergris, a.k.a. whale waste
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Football and perception: Matthew Barney on the field emblem
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Matthew Barney on using plastics and petroleum jelly
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Amy Franceschini reimagines World War II–era community gardens for San Francisco
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Richard Tuttle: Art is an adventure
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When “everything was perfect”: An introduction to Richard Tuttle
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Richard Tuttle: Pushing the limits of art
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It’s alive! Richard Tuttle creates a wire piece at SFMOMA
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Richard Tuttle treats words as art
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Why was Richard Tuttle’s 1975 exhibition so controversial?
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Gary Hill: Your actions reflect yourself
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Gary Hill doesn’t miss a beat
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Gary Hill gets down to the neurons
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Doris Salcedo: "Extreme experiences as a point of departure"
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Doris Salcedo: Memory as the essence of work
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Kara Walker explains her interest in “demoted” art forms
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Kara Walker on the dark side of imagination
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Romance novels and slave narratives: Kara Walker imagines herself in a book
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Robert Bechtle gets (photo)real
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Robert Bechtle: The camera is a sketchbook
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Robert Bechtle: Paintings are not as ephemeral as photographs
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Kara Walker depicts violence and sadness that can't be seen
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Doris Salcedo role-plays to shape her practice
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Doris Salcedo on her Colombian heritage
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Robert Bechtle: The intensity embedded in the paint
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Robert Bechtle: An underpainting to enhance the color
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Ed Ruscha: Drawing with gunpowder
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Ed Ruscha on combining painting and photography
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Ed Ruscha’s big-city visions
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Ed Ruscha: Painting words
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Ed Ruscha: Breaking his own rules

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Pipilotti Rist: Our hearts are “rinsed” every second
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Pipilotti Rist’s fairy tale about a destructive goddess 
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Why Pipilotti Rist works with video
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Pipilotti Rist’s “instant diamonds”
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Trains, snakes, and guitars: The collages of Romare Bearden
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Romare Bearden and the civil rights movement
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Chris Johanson’s energy explosion
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Chris Johanson’s “free-form” process
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Nashormeh Lindo: The Harlem Renaissance opened the eyes of the establishment
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Romare Bearden: Advocate, guru, nurturer
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Philip Guston: Abstract Expressionist?
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Philip Guston’s sociopolitical paintings
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Philip Guston paints the KKK
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Judy Chicago prepares for a dinner party with female heroes
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Lindy Roy’s liquid inspiration for Poolhouse
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Wind River Lodge: Lindy Roy’s design for extreme winter sports
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Philip Guston: Mysteries of the working process
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Piet Mondrian: Into abstraction
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Piet Mondrian: Painting and dancing
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Piet Mondrian and Theo van Doesburg: Spreading De Stijl
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Diagonal lines: A disagreement between Mondrian and van Doesburg
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Claude Cahun: Queer Surrealist
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What is cheese? A reality lesson from René Magritte
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Walter Gropius in the (Bau)haus
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Grace McCann Morley's populist approach to founding SFMOMA
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Lindy Roy’s retail concept for Vitra
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The lines of Piet Mondrian
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Eva Hesse and gender
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Eva Hesse: “Life doesn’t last; art doesn’t last”
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Eva Hesse’s feminist point of view
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Sol LeWitt on Eva Hesse’s “junky” materials
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Eva Hesse’s installations: Never the same twice
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Eva Hesse’s zest for life
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Eva Hesse created structures of chaos
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Gerhard Richter doesn’t have the answer either

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Conservation nation: Eva Hesse’s Aught
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Choosing a “sour” Gerhard Richter painting
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Gerhard Richter: The un-painting of a picture
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Eva Hesse: Shaped by environment
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Jasper Johns doesn’t “settle” in his art
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On target: Jasper Johns on creating his target paintings
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Ansel Adams’s moon in Moonrise, Hernandez, New Mexico
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The suspense of Ansel Adams’s famous moonrise
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Ansel Adams on protecting the environment
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Ansel Adams: Photographic technique as a means to an end
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Ansel Adams visualizing the final print
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Yosemite and the work of Ansel Adams
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Riding the waves of Ansel Adams’s Surf Sequence
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Painting Diego Rivera’s frescoes
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Andy Warhol makes a silkscreen
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How Zen poems influenced Brice Marden’s paintings
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Josef Albers’s Tenayuca: From pyramid to painting
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Climbing with Ansel Adams and friends
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What is Pop art to Andy Warhol?
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At the Blue House with Frida and Diego
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Jenny Holzer’s public “clichés”
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How Edward Kienholz started scavenging for materials
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Because he says so: Jasper Johns is not a Dadaist
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The illusion of Marcel Duchamp’s readymade Fountain
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Tina Modotti: Silent film star
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Frank Stella: Rebuilding painting
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Frank Stella and the art of the protractor
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David Smith and the search for “accidental beauty”
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Louise Bourgeois: Unlike family, geometry never fails you
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Vija Celmins began with recognizable surfaces
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Frank Stella on “relief painting”
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Willem de Kooning on painting women
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David Smith on color
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Elizabeth Murray: Finding the artist inside the painting
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Frank Stella describes “art worth making”
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Frank Stella on Jackson Pollock: The hand, the eye, and the body
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Frank Stella: Creating canvases in new shapes
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Louise Bourgeois’s work isn’t always feminist

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Breakability: The essential quality of pottery for Louise Bourgeois
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Louise Bourgeois became an artist to fight back

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Gender roles according to Louise Bourgeois
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Louise Nevelson: Architect of light and shadow
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Louise Nevelson shares her sculpture studio
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Matthew Ritchie: Abstraction is metaphysical
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Matthew Ritchie: Art is not an equation
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Matthew Ritchie on the game of chance
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From the Big Bang to now: Matthew Ritchie's stories
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Why Susan Rothenberg is hard on herself
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Susan Rothenberg on her artistic process
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Vija Celmins wants you to open your heart and eyes
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Jackson Pollock’s drip-painting process
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Jackson Pollock: Paintings have a life of their own
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Richard Serra throws molten lead inside SFMOMA
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Glenn Ligon confronts slavery
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Glenn Ligon on “the idea of a black man”
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Glenn Ligon’s self-portraits fall apart
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Judy Chicago: It’s a man’s world
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Judy Chicago’s “cunt cheerleaders”
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Robert Gober poses as a bride
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Robert Gober’s sneaky drag performance
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Rubber, lead, and steel: Richard Serra’s materials
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Richard Serra’s “risk-taking masculinity”
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Richard Serra’s Surprise Attack
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Richard Serra: On trial for Tilted Arc
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Frida Kahlo’s evolution
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John Baldessari sings Sol LeWitt
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Untangling the puzzle of Sol LeWitt’s open cubes
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Richard Diebenkorn: Seeing the world in abstraction
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Richard Diebenkorn’s portraits of fellow Marines
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Richard Diebenkorn: Inspired by natural light
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Richard Diebenkorn: “The sky took the place of the ocean”
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David Park’s rejection of Abstract Expressionism
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David Park’s surprisingly “convincing” figures
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David Park at home
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David Park believed art should be troublesome
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David Park’s love of jazz
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David Park: California vs. New York
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The Windhover project: The wings of Nathan Oliveira’s mind
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Time-lapse of a Sol LeWitt Wall Drawing installation
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Formal differences: Frida Kahlo vs. Diego Rivera
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Diego Rivera: The gateway to Mexican culture and politics
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Frida Kahlo: Feminist and Chicana icon
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Nathan Oliveira: Abstract Expressionism lets “the paint define the painting”
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Nathan Oliveira: Painting is beautiful and essential
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Nathan Oliveira confronting a creative “stone wall”
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Nathan Oliveira on inspiration
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Robert Rauschenberg to John Cage: “Be careful and drive straight”
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Robert Rauschenberg, Willem de Kooning, and a bottle of Jack Daniels
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Robert Rauschenberg believes two is better than one
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Robert Rauschenberg on his most personal works
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Robert Rauschenberg in Pelican
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Bill Viola at SFMOMA
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Richard Diebenkorn’s collaborative printing process
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Dorothea Lange on the Great Depression in San Francisco
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Betye Saar on adding mystery in her work
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The mysticism of Betye Saar
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Betye Saar’s particular solitude
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Betye Saar blends the mystery of history
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Dorothea Lange: The camera teaches people how to see
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Dorothea Lange: From snapshots to documentary
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Edward Weston: Nature is “the great stimulus”
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Imogen Cunningham on earning a living
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Imogen Cunningham on The Tonight Show with Johnny Carson
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Imogen Cunningham on enjoying the tedious work in the darkroom
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Imogen Cunningham: Why people like flowers
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Imogen Cunningham: Driven by curiosity
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Imogen Cunningham: The obstacles of portrait photographers
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Joan Brown finds success in surprise
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Joan Brown gets what she wants
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Joan Brown: Life-size art
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Joan Brown escapes to Alcatraz
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Rediscovering Jay DeFeo’s The Rose
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Jay DeFeo and Wally Hedrick’s Christmas parties
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Jay DeFeo’s The Rose: The enormous painting that was “almost alive”
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Robert Arneson on the “seductiveness” of clay
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Robert Arneson’s portraits have nothing to do with ego
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Robert Arneson on the “spiritual presence” of Peter Voulkos
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Sargent Johnson on surviving the Great Depression