The new museum will reopen in the fall of 2025 in partnership with Cooper Robertson, after the exhibition announced a new 60,000-square-foot space. Titled “New Humans: Memories of the Future,” the show will bring together more than 150 artists, writers, scientists, architects and filmmakers in an ambitious interdisciplinary, intergenerational exploration to understand what humanity means in changing technological changes.
The exhibition divides similarities between the 20th and 21st centuries, examining how creative and intellectuals of various eras respond, process, and even, in some cases, even anticipate seismic and sociological transformations that shape new concepts of mankind and their possible future. “’Newcomer’ is an encyclopedia interdisciplinary exhibition that continues to engage with the most pressing issues today,” Massimiliano Gioni of the New Museum said in a statement. “In fact, our most terrifying contemporary focus is the elderly themselves.”
When Observer was exposed to further insights from the exhibition, Gioni said the theme of the exhibition was our future. “The show will question how artists envision the future, often predict or deal with changing technological transformations, while also studying how these transformations ultimately change our perceptions and representations of ourselves. It explores the definition of change in the 20th and 21st centuries.”
The show draws on Roger Caillois’ concept of diagonal science, an approach that blends scientific inquiry with surreal urges. Expanding the idea, the “Newcomer” follows what Gioni describes as a diagonal history, an interdisciplinary and interdisciplinary approach that juxtaposes art, architecture, film and photography perspectives from the last century, thus creating a liquid dialogue between historical and modern visions.
The exhibition will cover global and intercultural perspectives, covering historical and contemporary works, covering 20th century figures such as Francis Bacon, Salvador Dalí, Ibrahim El-Salahi, Ibrahim El-Salahi, Hr Giger, Hannah Höch in recent decades, including Anicka Yi, Lucy Beech, Meeriem Bennani, Cyprien Gaillard, Pierre Huyghe, Tau Lewis, Daria Martin, Wangechi Mutu, Precion Okoyomon, Berenice Olmedo, Philippe Parreno, Philippe Parreno, Hito Steyerl, Hito Steyerl, Jamian Juliano-villiano-villani and Rro.-villani and Rro.-villaani and Rro.-villaani and Rro.-villaani and Rro.
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Famous loans from both the U.S. and outside institutions will help bring this ambitious performance to life. But, as Gioni stressed, first of all, is the result of the great efforts of the entire museum team. It is not easy to prepare such a wide range of exhibitions while reopening the museum. The exhibition will be intentionally dense and challenging for visitors – as he said, gambling and provocative. “I think we live in a world full of overstimulation in information and images that can process a lot of information and images. Then we have a nostalgic idea that the museum is a space of peace and peace. Instead, the show is very intensive. We want to see what happens when the experience of observing art is concentrated, just like we absorb images from our phones in our daily lives.”
The inspiration for the “New Humans: Memories of the Future” is that conversations between AI, robotics and digital technologies have suddenly accelerated over the past three years. But one of the starting points of the show is the 1920 science fiction novel Rossum’s Universal Robot The first work written by Czech writer Karelčapek introduces the concept of robots. “Now, 100 years later, we see that we are dealing with similar fears about machine takeover, or hope that they will make our lives better and easier,” Gioni reflects. The cross-historical approach of the exhibition is partly a response to the dangerous spread of historical amnesia. “Recently, I’m reading about a neurologist and found that people with amnesia have trouble envisioning the future.”
By looking at how 20th-century artists address today’s still meaningful concerns, and analyzing which futures they imagined eventually passed, the exhibition became a forward-looking exercise. “If you don’t have memories, you can’t imagine your future,” said Ginney. “Artists have imagined the world, they imagine that as humans, we have to change to enter the future. Looking back at the past and seeing what futures happened in the end, maybe we’ve forgotten, just look back and forth at the same time.”
As the new museum launches a broad new chapter, its inaugural performance reaffirms its commitment to exploring how contemporary art reflects and challenges the present. “We were the first exhibition conducted by a New York institution that directly dealt with pressing issues at the time,” Gioni said. “We have been at the forefront of art trends and cultural issues. The exhibition continues to use the exhibition as a tool to understand the world outside the museum.”
In the coming months, the New Museum is expected to reveal more details about its inaugural exhibition and announce its entire 2026 timeline, which includes Arthur Jafa’s first New York Museum solo work and the next New Museum’s three-year writing.
An enhanced building for a “future-oriented” museum
New York City’s new museum has been temporarily closed since March last year to complete the long-awaited expansion – the project will double the museum’s exhibition space and introduce new facilities, including artist studios and dedicated residences New companyThe institution’s art, design and technology incubator.
The expansion will complement the museum’s flagship store originally designed on Bowery. The new building is not just an extension, it is also designed to enhance the visitor experience. It will add three new elevators to improve vertical circulation between floors – upgraded from the previous system, which requires long waits for two large larges with single-story access. The expansion will also create a new atrium, allowing the museum to host a large installation for the first time.
The expansion also brings new opportunities for visitors to enjoy stunning panoramic views of Manhattan, especially during the warmer months of the city. The museum’s iconic seventh floor sky room will be twice the size, while three newly added upper terraces will provide Bowery’s expansive view.
Improvements to the lobby include an expanded bookstore and a full-service restaurant, while outside, a new entrance square will provide open-air space for public art facilities and community gatherings. To mark the reopening, the museum will create a square with a new committee, Victoria Venuswon by the famous British artist Sarah Lucas, the first winner of the Hostetler/Wrigley Sculpture Award. The newly formed two-year annual jury will support the production and display of new works by female artists on the museum’s public entrance square and plan to provide additional commissions for facades and atrium stairs.
“With the new building, we will invest more energy into the new production plan,” Ginney said. “As a non-collective institution, we can really support artists by working with artists, producing works and finding resources that make them possible.”
The new OMA-designed building will be named after the late visionary philanthropist Toby Devan Lewis, a long-time new museum trustee whose $30 million donation to the museum’s capital event represents the largest and most important gift in its history. To date, the new museum has raised $118 million to its $125 million campaign target, with a construction cost of $82 million.
This is a big year for museum expansion in New York City
We entered a year with the sign of large museum expansion and reopening and reopening in New York City. Frick’s Frick Collection is a wave of leadership transformation, which will be renovated on April 17 on April 17, after a newly renovated Fifth Avenue House, which was previously intended to restore it to its grandeur of the Gilded Age. Designed by Selldorf Architect and Executive Architect Beyer Blinder Belle, the project seeks to give new insights into Frick’s historic heritage while meeting critical infrastructure and operational needs. The renovation revitalizes the interior of the Beaux-Arts buildings and museums, which have been skillfully restored. Visitors will be able to access Frick’s second floor for the first time, where ten newly created galleries (transformed from previous office and employee spaces) will rarely display and recently acquired works.
Meanwhile, after six years of closure, Harlem’s Studio Museum will finally reopen, which has reopened its long-awaited new home at 144 West 125th Street. The 82,000-square-foot building designed by architect David Adjaye will provide expanded exhibition space, dedicated areas of educational programs, and enhanced facilities for the museum’s renowned artist’s residence program.
The new five-story building is designed to reflect the museum’s core values of openness and participatoryness. The street-facing exhibition space will give passers-by glimpses inside Harlem’s studio museum, while “The Stand-up Bend” (a set of unique steps leading to the lower level of the building) will be a space for access to community gatherings, screenings and performances. The museum will reopen to honor the retrospective exhibition of influential American sculptor, educator and activist Tom Lloyd, whose groundbreaking works are included in the museum’s inaugural exhibition in 1968.
