(AGENPARL) - Roma, 12 Gennaio 2026 - (AGENPARL) – Mon 12 January 2026 https://whitney.us13.list-manage.com/track/click?u=387f59a72ae7b64ccae37d5c9&id=8159fd6868&e=59415c6e7e
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** LAST CHANCE! SIXTIES SURREAL, KEN OHARA: CONTACTS, AND GRACE ROSARIO PERKINS: CIRCLES, SPOKES, ZIGZAGS, RIVERS AND MORE, CLOSING SOON
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Catch four standout exhibitions before their final days!
New York, NY, January 12, 2026 — The Whitney Museum of American Art celebrates the final days of Sixties Surreal (https://whitney.us13.list-manage.com/track/click?u=387f59a72ae7b64ccae37d5c9&id=72d93c61fa&e=59415c6e7e), Circles, Spokes, Zigzags, Rivers (https://whitney.us13.list-manage.com/track/click?u=387f59a72ae7b64ccae37d5c9&id=5e16705d3a&e=59415c6e7e), Shifting Landscapes (https://whitney.us13.list-manage.com/track/click?u=387f59a72ae7b64ccae37d5c9&id=adc8103def&e=59415c6e7e) and CONTACTS (https://whitney.us13.list-manage.com/track/click?u=387f59a72ae7b64ccae37d5c9&id=bbf6472fad&e=59415c6e7e) . Spanning the Museum’s 5th floor, Sixties Surreal examines a widespread surrealist influence in American art of the 1960s forged amid rapid cultural and political transformation. On the 6th floor, Shifting Landscapes considers a more expansive interpretation of the category, exploring how evolving political, ecological, and social issues motivate artists as they attempt to represent the world around them. On view in the free-to-visit Lobby gallery, Grace Rosario Perkins: Circle, Spokes, Zigzags, Rivers, is the artist’s first solo museum exhibition. Working primarily with acrylic, spray paint, and textual fragments,
she incorporates an eclectic range of found and personal materials— family photographs, jewelry, book pages, fake eyelashes, plastic bags, botanicals—each serving as an elegiac vessel of memory, testimony, and cultural inheritance. Ken Ohara: CONTACTS, on the Museum’s 3rd floor, surveys a unique collaborative process where Ohara mailed preloaded cameras to strangers across the U.S. in the mid-1970s, asking them to document their daily lives before passing the camera along. The resulting “contact sheets,” recently acquired by the Whitney, capture life across thirty-six states in intimate, unfiltered glimpses of family, labor, and leisure during a time of profound political and cultural upheaval.
Sixties Surreal closes January 19, 2026. Shifting Landscapes closes January 25, 2026. Circle, Spokes, Zigzags, Rivers and CONTACTS are on view through February 8, 2026.
Sixties Surreal is a major reappraisal of American art from 1958 to 1972, bringing together work by more than 100 artists to trace a pervasive yet underrecognized current of psychosexual, fantastical, and revolutionary experimentation. Rather than centering canonical movements, the exhibition foregrounds a vernacular surrealism shaped by the legacy of historical Surrealism and intensified by the social, political, and technological upheavals of the era. Recontextualizing well-known figures alongside artists only recently rediscovered, Sixties Surreal examines how artists across the United States—from New York and Philadelphia to Chicago, Houston, Los Angeles, and the Bay Area—sought new ways to reconnect art to lived reality at a moment when life itself felt increasingly unreal.
View the digital press kit. (https://whitney.us13.list-manage.com/track/click?u=387f59a72ae7b64ccae37d5c9&id=a6c41822a2&e=59415c6e7e)
Grace Rosario Perkins: Circles, Spokes, Zigzags, Rivers marks the artist’s first solo museum exhibition in New York City, bringing together recent large-scale paintings and a new sculpture made between 2022 and the present. Drawing on imagery tied to Perkins’s family and tribal homelands in the southwestern United States, the exhibition highlights her intuitive process of layering and erasure. Incorporating found objects and personal materials alongside acrylic, spray paint, and collage, Perkins creates dense, vibrant surfaces that engage individual and collective memory. Through abstraction, the works resist reductive representations of Indigenous identity, offering an expansive form of storytelling rooted in ancestral knowledge and the urgencies of the present.
View the digital press kit. (https://whitney.us13.list-manage.com/track/click?u=387f59a72ae7b64ccae37d5c9&id=832a7429d8&e=59415c6e7e)
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Ken Ohara: CONTACTS marks the first U.S. institutional solo exhibition of Ken Ohara, presenting photographs and archival materials from his seminal series CONTACTS (1974–76). For this project, Ohara mailed a preloaded camera to strangers across the United States, inviting them to document their daily lives before passing the camera onward. By relinquishing authorship, he facilitated a decentralized and deeply personal portrait of American life during a period of social and political uncertainty. Shown in chronological order, the resulting contact sheets—recently acquired by the Whitney—offer intimate glimpses into lives across thirty-six states, foregrounding themes of human connection, shared experience, and the quiet rhythms of the everyday.
View the digital press kit. (https://whitney.us13.list-manage.com/track/click?u=387f59a72ae7b64ccae37d5c9&id=daaa893a10&e=59415c6e7e)
Shifting Landscapes is drawn from the Whitney’s collection, the exhibition features works from the 1960s to the present and is organized according to distinct thematic sections. Some of these coalesce around material and conceptual affinities: sculptural assemblages formed from locally sourced objects, ecofeminist approaches to land art, and the legacies of documentary landscape photography. Others are tied to specific geographies, such as the frenzied cityscape of modern New York or the experimental filmmaking scene of 1970s Los Angeles. Still others show how artists invent fantastic new worlds where humans, animals, and the land become one. Whether depicting the effects of industrialization on the environment, grappling with the impact of geopolitical borders, or proposing imagined spaces as a way of destabilizing the concept of a “natural” world, the works gathered here bring ideas of land and place into focus, foregrounding how we shape and are shaped by the spaces around us.
View the digital press kit. (https://whitney.us13.list-manage.com/track/click?u=387f59a72ae7b64ccae37d5c9&id=bc72b3677f&e=59415c6e7e)
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To experience the exhibitions in their final days, visitors can get tickets at whitney.org (https://whitney.us13.list-manage.com/track/click?u=387f59a72ae7b64ccae37d5c9&id=2a00fc3355&e=59415c6e7e) . Visitors twenty-five and under are free (https://whitney.us13.list-manage.com/track/click?u=387f59a72ae7b64ccae37d5c9&id=d6bf4ecdb6&e=59415c6e7e) at the Whitney, and the Museum also offers a suite of free and discounted ticket offerings. The Museum offers free admission and special programming for visitors of all ages every Friday evening from 5–10 pm and on the second Sunday of every month.
** PRESS CONTACT
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For press materials and image requests, please visit our press site at whitney.org/press or contact:
Ashley Reese, Director of Communications
Whitney Museum of American Art
(212) 671-1846
Whitney Press Office
whitney.org/press
(212) 570-3633
** EXHIBITION SUPPORT
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Sixties Surreal is sponsored by
Major support for Sixties Surreal is provided by the Barbara Haskell American Fellows Legacy Fund; The KHR McNeely Family Foundation | Kevin, Rosemary, and Hannah Rose McNeely; and the Whitney’s National Committee.
Significant support is provided by Susan Boland and Kelly Granat, and the John R. Eckel, Jr. Foundation.
Generous support is provided by Sheree and Jerry Friedman, The Keith Haring Foundation Exhibition Fund, Ashley Leeds and Christopher Harland, and the Robert Lehman Foundation.
Additional support is provided by Martin and Rebecca Eisenberg, George Freeman, Gail and Tony Ganz, and Patricia J. Villareal and Thomas S. Leatherbury.
Major support for Grace Rosario Perkins: Circles, Spokes, Zigzags, Rivers is provided by the John R. Eckel, Jr. Foundation.
Significant support is provided by Sueyun and Gene Locks.
Additional support is provided by the Girlfriend Fund, and Sasha and Charlie Sealy.
Generous support for Ken Ohara: Contacts is provided by David Bolger.
Generous support for Shifting Landscapes is provided by Judy Hart Angelo, the Henry Luce Foundation, and Whitney’s National Committee.
Major support is provided by the Terra Foundation for American Art.
Significant support is provided by the Keith Haring Foundation Exhibition Fund.
** ABOUT THE WHITNEY
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The Whitney Museum of American Art, founded in 1930 by the artist and philanthropist Gertrude Vanderbilt Whitney (1875–1942), houses the foremost collection of American art from the twentieth and twenty-first centuries. Mrs. Whitney, an early and ardent supporter of modern American art, nurtured groundbreaking artists when audiences were still largely preoccupied with the Old Masters. From her vision arose the Whitney Museum of American Art, which has been championing the most innovative art of the United States for ninety years. The core of the Whitney’s mission is to collect, preserve, interpret, and exhibit American art of our time and serve a wide variety of audiences in celebration of the complexity and diversity of art and culture in the United States. Through this mission and a steadfast commitment to artists, the Whitney has long been a powerful force in support of modern and contemporary art and continues to help define what is innovative and influential in American art today.
Whitney Museum Land Acknowledgment
The Whitney is located in Lenapehoking, the ancestral homeland of the Lenape. The name Manhattan comes from their word Mannahatta, meaning “island of many hills.” The Museum’s current site is close to land that was a Lenape fishing and planting site called Sapponckanikan (“tobacco field”). The Whitney acknowledges the displacement of this region’s original inhabitants and the Lenape diaspora that exists today.
As a museum of American art in a city with vital and diverse communities of Indigenous people, the Whitney recognizes the historical exclusion of Indigenous artists from its collection and program. The Museum is committed to addressing these erasures and honoring the perspectives of Indigenous artists and communities as we work for a more equitable future. To read more about the Museum’s Land Acknowledgment, visit the Museum’s website (https://whitney.us13.list-manage.com/track/click?u=387f59a72ae7b64ccae37d5c9&id=3868fb23a8&e=59415c6e7e) .
** VISITOR INFORMATION
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The Whitney Museum of American Art is located at 99 Gansevoort Street between Washington and West Streets, New York City. Public hours are Monday, Wednesday, and Thursday, 10:30 am–6 pm; Friday, 10:30 am–10 pm; and Saturday and Sunday, 10:30 am–6 pm. Closed Tuesday. Visitors twenty-five years and under and Whitney members: FREE. The Museum offers FREE admission and special programming for visitors of all ages every Friday evening from 5–10 pm and on the second Sunday of every month.
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Whitney Museum of American Art
99 Gansevoort Street New York, NY 10014
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Image credit:
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). Peter Saul, Saigon, 1967. Artwork © 2025 Peter Saul/ Artists Rights Society (ARS), New York. Photograph by Matthew Carasella
Installation view of Ken Ohara: CONTACTS (Whitney Museum of American Art, New York, October 10, 2025–February 8, 2026). From left to right: CONTACTS 1, Schlesinger, New York, New York, 1974–76; CONTACTS 3, Marshall, New York, New York, 1974–76; CONTACTS 5, MacEvoy, Little Silver, New Jersey, 1974–76; CONTACTS 5, MacEvoy, Little Silver, New Jersey, 1974–76; CONTACTS 17, Stern, Ann Arbor, Michigan, 1974–76; CONTACTS 20, Belknap, Morrison, Colorado, 1974–76; CONTACTS 21, Collard, Seattle, Washington, 1974–76; CONTACTS 24, Heckman, Beaverton, Oregon, 1974–76; CONTACTS 36, Radtke, Chaptico, Maryland, 1974–76; CONTACTS 43, Mooney, Dallas, Texas, 1974–76; CONTACTS 47, Carr, San Francisco, California, 1974–76; CONTACTS 48, Floca, Honolulu, Hawaii, 1974–76; CONTACTS 49, Hase, Estelline, South Dakota, 1974–76; CONTACTS 54, Prodoehl, Eldora, Iowa, 1974–76. Artwork © Ken Ohara. Photograph by Ron Amstutz, digital image © Whitney Museum of American Art
Installation view of Grace Rosario Perkins: Circles, Spokes, Zigzags, Rivers (Whitney Museum of American Art, New York, October 18, 2025–February 8, 2026). From left to right: Lets Go Back To That Magic Place That Only You and I Have Seen (Illuminations), 2023; When I See A Mountain I Want 2B A Stone, When I See Her Hand, I Want 2B A Bone, 2025; Like a Leaf Clings to a Tree, 2023; Disposition 2 Long Orange Finger Nails, 2024; Going Going, 2025. Artwork © Grace Rosario Perkins. Photograph by Ron Amstutz, digital image © Whitney Museum of American Art
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). Dalton Gata, I Don’t Need You To Be Warm, 2021. Photograph by Matthew Carasella