NEW YORK, NY.- The New Museum today announced its exhibition program for fall 2026 through winter 2027. In September 2026, the New Museum will present the largest survey to date of the work of Arthur Jafa, charting three decades of the artist’s practice across film, installation, photography, painting, and sculpture, including rarely seen early works as well as new and recent productions. Also opening in September will be the first New York solo museum exhibition of Diego Marcon, including a newly commissioned film, as well as an exhibition tracing the 500-year history of the Bowery as a nexus of arts and culture. In winter 2027, the Museum will present the sixth iteration of its signature Triennial, the only recurring international exhibition in New York City devoted to early-career artists from around the world.

The 2026–27 exhibition program advances the New Museum’s commitment to presenting benchmark solo shows and ambitious thematic exhibitions. Additional information on these exhibitions and accompanying public programs will be announced in the coming months.

Arthur Jafa: I Am Tony
September 24, 2026–January 4, 2027
Curated by Massimiliano Gioni, Edlis Neeson Artistic Director, and Gary Carrion-Murayari, Kraus Family Senior Curator, with Calvin Wang, Curatorial Assistant

Arthur Jafa: I Am Tony will be the largest museum survey exhibition to date of the work of Arthur Jafa (b. 1960, Tupelo, MS), spanning two floors of the newly expanded New Museum to encompass the full breadth of the practice of one of the most influential artists of his generation. Alongside the premiere of new work, the exhibition will feature Jafa’s most celebrated works, including Love is the Message, The Message is Death (2016) and the Golden Lion-winning The White Album (2019), as well as recent paintings, large-scale video and film installations, and a range of sculptural and photographic objects.

Over a nearly forty-year career, Jafa has sought to find new visual forms to capture the rhythm and realities of Black life in America. Often placing the nation’s growing awareness of the history of institutional violence directed toward the Black community against the backdrop of the ascension of Black culture, music, and entertainment in American national identity, Jafa’s work turns an unflinching eye toward the past while embodying and mirroring our contemporary obsession with masses of images or ‘content’. I Am Tony, named for the legendary jazz drummer Tony Williams, will chart Jafa’s work from his earliest films to recent video installations, mapping the evolution of his filmic language whose syncopations and textures match the aspirations of Black popular music.

Diego Marcon: Arrivederci, Piggies!
September 24, 2026–January 31, 2027
Curated by Massimiliano Gioni, Edlis Neeson Artistic Director, and Madeline Weisburg, Senior Assistant Curator

In his meticulously staged films and animations, Diego Marcon (b. 1985, Busto Arsizio, Italy; lives and works in Brinzio, Italy) crafts deeply ambiguous and morally bewildering stories that unearth the conditions under which we as humans perceive our desires, our memories, and ourselves. Diego Marcon: Arrivederci, Piggies—Marcon’s first solo museum exhibition in New York City—will bring together three of the artist’s recent films alongside the newly commissioned work Krapfen (2025), produced by the New Museum in collaboration with Fondazione Sandretto Re Rebaudengo, Lafayette Anticipations, the Renaissance Society, and the Vega Foundation.

Marcon’s incisive work in moving image, sound, and film installation coopts familiar genres like horror movies, slapstick comedy, and cartoons to underscore and subvert cinematic archetypes and mechanical forms. While informed by the fantastical visions and narrative structures of fables, replete with families and children, his artworks also meditate on existential melancholy and frequently manifest themselves in disquieting events. Dissolving the edges between the ordinary and the uncanny, Marcon’s films stir our deep-rooted dreams and nightmares while awakening our childhood memories, both real and imagined, of tragedies, myths, and folktales.

Marcon’s newly commissioned film is the first work enabled by the New Futures Production Fund, an annual program supporting the production of a major new work to be presented at the New Museum followed by a presentation at Fondazione Sandretto Re Rebaudengo in Turin.

The Bowery: Devil’s Mile
September 24, 2026–January 31, 2027
Curated by Lisa Phillips, Director Emerita, with Thalia Stefaniuk, Curatorial Assistant

The Bowery: Devil’s Mile is the first exhibition to trace the rich history and culture of New York’s oldest thoroughfare. The exhibition brings together artworks and artifacts that explore the Bowery as a street, a neighborhood, and a state of mind. Once known as the world’s most notorious skid row, the Bowery has, over five centuries, had many incarnations: a Lenape footpath; a home to farms and cattle drives; the site of racetracks and pleasure gardens; and a center of popular entertainment with theaters, concert halls, tattoo parlors, and dime museums. More recently, it has been the spine of a thriving artists community which ushered in yet another new era for the street.

The exhibition underscores the Bowery as a site of ongoing experimentation and perpetual reinvention: the haunt of gangs, performers, entrepreneurs, and artists, and a host of remarkable characters from Peter Stuyvesant, PT Barnum, and Jacob Riis to William Burroughs, Eva Hesse, and Keith Haring. Known for its extremes and for its vibrant, risqué rowdiness, muscularity, and grit, the Bowery—a street the New Museum calls home—was once known as ‘Devil’s Mile’.

New Museum Triennial: The Outside Expands
Opening January 2027
Curated by Vivian Crockett, Allen and Lola Goldring Curator, and Isabella Rjeille, Curator at MASP–Museu de Arte de São Paulo Assis Chateaubriand, with Thalia Stefaniuk, Curatorial Assistant

The New Museum will present the sixth edition of its signature Triennial, the only recurring international exhibition in New York City devoted to early-career artists from around the world, co-curated by Vivian Crockett, Allen and Lola Goldring Curator at the New Museum, and Isabella Rjeille, Curator at MASP–Museu de Arte de São Paulo Assis Chateaubriand.

The Triennial’s title, The Outside Expands, takes partial inspiration from a July 1979 urban intervention by the Brazilian collective 3Nós3 (3Us3), X Galeria (X Gallery), in which they branded the entrances of several São Paulo galleries with duct-taped “X”s accompanied by a message: “O que está dentro fica, o que está fora se expande” (What is inside remains, what is outside expands). Taking place amidst the civil-military dictatorship in Brazil, the action invited artists and cultural workers to think beyond institutions during a period of extreme repression. The exhibition considers the present moment as an inflection point—in which the ‘x’ symbolizes a crossroad—allowing for critical reflection on the past and carving out space for envisioning other futures. Forty-seven years later, the ‘x’ continues to resonate as both a symbol of refusal and generative potential: what can grow when one moves away from preexisting structures—institutional, systemic, and conceptual. The Outside Expands turns towards artists that destabilize fixed notions of territory, identity, gender, and sexuality and who foster alternate ways of forging relationships, kinships, and collaborations.