April 25, 2018 to July 1, 2018

April 25, 2018 to July 1, 2018


Oded Halahmy: Exile is Home includes over 100 works representing Halahmy’s work from the mid-1960s to the present and features a selection of Judaica – handmade by the artist for Hanukkah and Sukkah celebrations with close friends. Halahmy currently lives and works in New York and Old Jaffa, Israel. His work has been included in numerous solo and group exhibitions throughout the United States, Europe and the Middle East. 


Oded Halahmy: Exile is Home is organized by guest curator: Margaret Mathews-Berenson, and made possible by the lead sponsorship of an anonymous patron and the additional support of the Bronx Museum’s Director’s Circle.

April 18, 2018 to September 19, 2018

April 18, 2018 to September 19, 2018


Landing / Aterrizaje is solo show of Bronx artist Moses Ros’ sculptures on the Bronx Museum’s Sculpture Terrace. The work is inspired by recent migrations to the United States caused by environmental and manmade disasters and catastrophes that have wrenched people away from their homelands. In this series, Ros focuses on the Caribbean experience, creating large, freestanding sculptures based on a main staple and export of the islands, the platano (plantain banana).  Using cut-out, plywood sheets to form a type of DIY “assembly kit” of the work, the large-scale, painted winged forms, along with the post-cut template panels that once held them are juxtaposed within the space. 

October 25, 2017 to April 29, 2018

October 27, 2017 to April 29, 2018


The Bronx Museum of the Arts is proud to present an exhibition focusing on a series of new paintings by Angel Otero. On view at the Bronx Museum from October 25, 2017 through April 29, 2018, this exhibition will highlight Otero’s commitment to making paintings and sculptures that mine and celebrate key examples of the art of the past. Angel Otero: Elegies is organized by guest curator Christian Viveros-Fauné.


November 7, 2018 to March 3, 2019

The work of Bronx native Rochelle Feinstein is deeply informed by abstraction, while also conveying a keen sensibility to contemporary culture, particularly to our everyday use of language. Over the span of the last four decades, Feinstein has probed the relevance of the abstract painting tradition vis-a-vis a rapidly changing cultural environment. She has used the lexicon of abstract painting to approach subjects of both personal and social import such as the televised police pursuit of OJ Simpson (El Bronco, 1994); the Iraq war (Hotspots, 2003 - ongoing), and the economic downturn of 2008 (The Estate of Rochelle F., 2010)


Featuring photographs and videos by John Rowe

Over the last fifty years, Cuban artist Manuel Mendive has developed a highly personal examination of the African spiritual tradition of Yoruba through the experimental lens of contemporary art. The artist’s multidisciplinary work, in particular his performances, has become a vehicle for exploring the intersections between art, religion, philosophy, ethics, and anthropology. At the Bronx Museum, Mendive will present a new body of works focused on his continued interest in Yoruba mythology, pondering on man’s relationship with nature and spirituality. Conceptualized as a cohesive group of paintings and sculptures, the overall installation suggests an “ancestral tour” to the heart of nature. Steeped in religious and philosophical ideas, Mendive’s artworks invite the viewer to immerse in a mythical search for identity. The exhibition will also feature a new performance in September 2017 created by Mendive specifically for the Bronx Museum.

July 18, 2018 to October 14, 2018

The Bronx Museum of the Arts is proud to present an exhibition of works by Diana Al-Hadid organized in collaboration with San José Museum of Art curator Lauren Schell Dicken. On view at the Bronx Museum from May 23 through October 14, 2018, the centerpiece of Diana Al-Hadid: Delirious Matter will be the monumental sculpture Nolli’s Orders (2012), inspired by Giambattista Nolli’s landmark 1748 map of Rome, the first of its kind to show the public spaces of the city.

June 6, 2018 to September 23, 2018

Photojournalist Randy H. Goodman captured life in the Islamic Republic of Iran during both the
hostage crisis and the Iran-Iraq War. She returned in 2015, after thirty-three years, to
photograph at yet another pivotal time in US - Iran relations — the signing of the Iran nuclear
agreement. Her portraits and street scenes of WOMEN ONLY, from both periods, present a
unique perspective on that country’s past and its future.

May 16, 2018 to July 15, 2018

This exhibition in honor of the late Tim Rollins takes as its departure point the concept of dialog that was central to his vision as an artist and educator. Deeply influenced by the educational theories of Brazilian philosopher Paulo Freire, Rollins used dialog to bring out the truth in each pupil, harmonizing different voices in their varied nuances. Working as a Public School teacher in the South Bronx starting in 1981, his educational approach was pivotal in infusing a sense of pride and belonging among students that often felt alienated from the mainstream. Famously, his call to arms was: “Do you want to make history?” Those who would respond to his call would invariably become masters of their own narrative. For Rollins, the idea of dialog was also an integral part of his art practice, and we might consider the whole of his collaboration with K.O.S. as a sustained dialog not only among members of the group, but most importantly, with great interlocutors of the past, like W.E.B. DuBois, Martin Luther King, George Orwell, and Franz Kafka to mention but a few.


Dialoguing with noted precursors is also essential to Glenn Ligon’s practice, whose work often borrows from noted African American visionaries like James Baldwin, Zora Neale Hurston, and Ralph Ellison. Like Rollins, Ligon is perceptive to the power of words, and to how they can elevate or stigmatize individuals. Born in the Bronx in 1960, he belongs to a generation of Black intellectuals that furthered the revolutionary ideas sowed by leader of the Civil Rights movement in the previous decades.


This exhibition invites the viewer to explore parallels between the approaches of Tim Rollins & K.O.S. and of Glenn Ligon, and identify their distinct traits. For although the practice of borrowing from different literary sources is at the very basis of their practices, they ultimately arrive at different results. While the works of Rollins & K.O.S. often strike an elegiac tone, Ligon seems rather intent on speaking through the language of others. A case in point is how the topic of slavery is dealt differently in works such as Incidents in the Life of a Slave Girl (1997), and the series of lithographs Runaways (1993). Form, however, often works as an equalizer and we find a surprising echo between Ligon’s reworking of a poster used during the sanitation workers assembly in Memphis in 1968 (I AM A MAN), and Rollins & K.O.S.’ homage to Ralph Ellison’s The Invisible Man (2008).

Dialogues: Tim Rollins & K.O.S. and Glenn Ligon has been organized by Antonio Sergio Bessa and Rick Savinon.


July 19, 2012 - June 2, 2013

Does style define man? For centuries, style has been the focus of debate whether concerning writing, behavior or fashion. Around the late 1970s, the term “wild style” began to circulate among graffiti artists in the South Bronx to denote the kind of graphics involving complex, interlocking letters with aerodynamic forms. Coined by the legendary Tracy 168, the expression became associated with the rise of graffiti art in New York City, specifically in the Bronx, in the 1970s and that ultimately became a global movement. Started as an underground movement, the “wild style” is now part of the mainstream, studied as an art form and exhibited in museums all over the world. Bronx Lab—Style Wars features a number of works that reflect on that era to pose the question of what is today’s style.

Artists include Afrika Bambaataa, Henry Chalfant, Lady K Fever, Keith Haring, Dr. Lakra, Valerie Larko, Glendalys Medina, Johnny Perez, Tim Rollins and K.O.S., Rigoberto Torres, Tats Cru

February 12, 2012 – June 11, 2012

The MIT List Visual Arts Center in collaboration with The Bronx Museum of the Arts presents the first United States museum survey of the work of Chilean-born video artist Juan Downey (1940–1993). Juan Downey: The Invisible Architect features a selection of key works by this under-recognized pioneer of video art. A fellow at MIT’s Center for Advanced Visual studies in 1973 and 1975, Downey played a significant role in the New York art scene of the 1970s and 1980s.

Ranging thematically over several decades of the artist’s work, the exhibition includes early experiments with art and technology that mark a shift from object-based artistic practice to an experiential approach seeking to combine interactive performance with sculpture and video.  Along with this foundational early work, the exhibition also features Downey’s video installations of the 1970s and 1980s. These combine an autobiographical approach with the style of anthropological documentary—one of his most important contributions to the medium. In Downey’s later work, the intellectual and historical myths of European culture, as well as the roots of Latin American identity, are explored in complex video work that utilizes associative visual metaphors, collage-like techniques, and non-linear narrative.

In his two major series of works, Video Trans Americas and The Thinking Eye, Downey subjects the canonical and historical narratives of Western art to rich technical, visual, and intertextual analysis. In Video Trans Americas, begun in 1971, Downey anticipates much of the current interest in urbanism, post-colonial theory, and locality in contemporary artistic practice by mixing anthropology with autobiography. The Thinking Eye, a series made for public television, subjects the foundational concepts of Western culture—including the idea of the self—to linguistic, psychoanalytic, art historical, and semiotic interpretation, all through Downey’s mastery of video technology.


Presented in collaboration with The Bronx Museum of the Arts, Juan Downey: The Invisible Architect is organized by Valerie Smith, Curator at the Haus der Kulturen der Welt in Berlin. The exhibition will travel to the Arizona State University Art Museum, Tempe, AZ (September 24–December 31, 2011) and the Bronx Museum of the Arts in New York (February 12–May 20, 2012).

All images: Juan Downey Estate, Courtesy of Marilys B. Downey

2011 to 2013

smARTpowers, an initiative of the Department of State's Bureau of Educational and Cultural Affairs, administered by The Bronx Museum of the Arts, sends 15 U.S. artists abroad to work with local artists and young people around the world to create community-based art projects. Selected artists design and implement programs within a 45 day period in cooperation with local arts organizations in China, Ecuador, Egypt, Ghana, India, Kosovo, Lebanon, Nepal, Nigeria, Pakistan, the Philippines, Kenya, Sri Lanka, Turkey, and Venezuela.


smARTpower artists are strongly encouraged to create a tangible legacy of the work, to remain in country, through a variety of visual arts media, including painting, sculpture, drawing, video, installation, photo-based work, public art, and interdisciplinary projects. Projects emphasize participatory work and address a full range of relevant subjects including, but not limited to, women's empowerment, the environment, health, education, and civic engagement.