Metropolitan Museum of Art

Colorful Korea: The Lea R. Sneider Collection

Over four decades, Lea R. Sneider (1925–2020) curated a remarkable collection of Korean art that challenged traditional conventions. While she valued literati art, her passion lay in the vibrant and colorful expressions closely linked to daily life, culminating in a diverse assemblage that showcases Korea's rich material culture. This exhibition presents significant contributions, including gifts and loans from the Lea R. Sneider Collection, graciously provided by her family. Featuring around 100 artworks spanning from the fifth century to the present—comprising paintings, ceramics, furniture, textiles, and funerary and ritual objects—the exhibition showcases the prevalence of auspicious symbolism and the genuine energy characterizing Korean art. Sneider believed these works resonate with the vitality and warmth of the people who engaged with them, a sentiment her collection epitomizes through its focus on cultural and everyday significance.

Iba Ndiaye: Between Latitude and Longitude

"Between Latitude and Longitude" inaugurates the in-focus gallery in the Michael C. Rockefeller Wing, part of a comprehensive reimagining of The Met's collection of African art. This exhibition highlights a significant piece by Senegalese Modernist Iba Ndiaye (1928–2008), titled Tabaski, which has been gifted to The Met. Since the Rockefeller Wing's opening in 1982, a canon of African Modernist painting has developed, with Ndiaye recognized as a foundational figure of international significance; however, his legacy remains relatively obscure outside of Senegal.

The Magical City: George Morrison’s New York

This exhibition delves into how George Morrison's artistic inspiration and subsequent trajectory were deeply influenced by his affection for New York, which he referred to as a 'Magical City.' It showcases 25 of his most significant paintings and drawings from this formative period, culminating in his Horizon series. Additionally, the exhibition includes rare archival materials that position Morrison at the center of the Abstract Expressionist movement during the 1940s and 1950s in New York.

The Genesis Facade Commission: Jeffrey Gibson

For the 2025 Genesis Facade Commission, Jeffrey Gibson (born 1972, Colorado Springs, Colorado), a member of the Mississippi Band of Choctaw Indians and of Cherokee descent, will create four figurative sculptures, which he describes as ancestral spirit figures. This project for The Met’s Fifth Avenue facade marks the sixth commission in a series focused on this historic exterior. The artist's new works will utilize his developed iconography, which combines Indigenous identity and imagery with abstraction, patterning, materiality, and text. Gibson is an interdisciplinary artist who grew up across the United States, Germany, and Korea. His work spans hard-edged abstraction to a rich engagement in performance, filmmaking, and curatorial practices. Since the 2000s, his art, deeply rooted in Indigenous identity, has innovatively explored abstraction, text, and queer culture, blending these converging interests and highlighting a critique of the oversimplified and misappropriated representations of Indigenous culture.

A Roman Statue of Aphrodite on Loan to The Met

A celebrated statue of the goddess of love, Aphrodite, is now on display in The Met’s Greek and Roman galleries as a five-year loan until 2028.

This exhibition showcases a distinguished Roman statue of Aphrodite, delving into the concepts of beauty and divinity as represented in ancient art. It highlights the significance of this iconic piece during its five-year display period at The Met.

A Roman Statue of Aphrodite on Loan to The Met

This remarkable statue of Aphrodite, the goddess of love, is currently showcased in The Met’s Greek and Roman galleries as part of a five-year loan that will last until 2028. Originally discovered near Rome in the 1770s, its first documented mention is in a letter from the British painter and antiquities dealer Gavin Hamilton in April 1775. Subsequent letters reveal that the statue was acquired by Douglas Hamilton, the 8th Duke of Hamilton, by December 1775 and was subsequently moved to Scotland in 1776.