Museum scene this week
New York’s New Museum just reopened with a major people‑and‑machines exhibition called a ‘juggernaut’ show, MoMA opened a show curated by Alison M. Gingeras exploring women’s roles in art history, and the Whitney Biennial is drawing mixed reviews for a perceived lack of clear curatorial point of view. (x.com) (en.ilsole24ore.com) (welcomejpeg.com)
The New Museum’s expansion and inaugural exhibition New Humans: Memories of the Future opened on March 21, 2026, according to the museum’s official schedule. (newmuseum.org) The OMA-designed addition adds roughly 60,000 square feet and doubles the institution’s footprint, a project led by Shohei Shigematsu in collaboration with Rem Koolhaas and Cooper Robertson. (artnews.com) Art critics note the reopening show fills much of the expanded building with more than 200 participating artists and an encyclopedic tally the museum has described as spanning over a century of works. (artnews.com) Alison M. Gingeras’s large survey The Woman Question: 1550–2025 opened at the Museum of Modern Art in Warsaw on November 21, 2025 and runs into May 2026 as a multi‑chapter reappraisal of women’s presence in art history. (finestresullarte.info) The Warsaw show assembles well over a century of material across eight thematic chapters and brings together scores of women artists—press materials and reviews cite more than 130 contributors and nearly 200 works in the project’s catalogue and press release. (artdaily.cc) The 82nd Whitney Biennial, curated by Marcela Guerrero and Drew Sawyer, includes some 56 artists and collectives and was previewed for the press in early March ahead of its public run through August 23, 2026. (artnews.com) Early coverage shows critics divided: some reviewers call the biennial underwhelming or incoherent while others argue roughly half the show contains strong, clearly connected groupings. (frieze.com) Reviewers highlighted individual entries that shaped the debate—works by Emilie Louise Gossiaux, Gabriela Ruiz’s Homo Machina (2026), and provocative installations such as Zach Blas’s sound‑heavy piece were repeatedly cited in previews and reviews. (artnews.com)
