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New York - Museum of Modern Art The Museum of Modern Art is New York's permanent meeting place for the contemporary artistic energies of Europe and America. About a mile and a half uptown, the Metropolitan Museum of Art sedately displays its accumulated masterpieces of the past, but here, amid brownstone fronts and small sidewalk trees, the strikingly modern building of the Museum of Modern Art has become a symbol of those technical and imaginative innovations that have transformed the character of art during the past hundred years. Starry Night, c.1889 Art Print van Gogh, Vincent Buy at AllPosters.com Before the establishment of the museum the more advanced forms of modern art had made their appearance in the famous "Armory Show" of 1913, in Alfred Stieglitz' "291 Fifth Avenue" and in the exhibitions of the Société Anonyme. These showings, with occasional purchases, infrequent exhibitions, and such private collections as that of John Quinn, had given New Yorkers a hint of the strange aesthetic events taking place here and across the Atlantic. To carry out its purpose more effectively, the museum decided at the start to renounce the conventional policy of a single permanent exhibition occasionally increased by acquisitions or loans. Contact with new aesthetic movements could be maintained only if works were kept constantly passing through the museum. Modern art also had to be presented in such a way that its implications and antecedents would be clarified. The manner in which this program has been accomplished may be illustrated by the retrospective exhibition of abstract and cubist art. Three hundred and eighty-three pieces were assembled from all available sources. Together with abstract art of the last twenty-five years, examples of primitive sculpture (which served as a source for modernist treatment) as well as such European antecedents as Cézanne, Rousseau, and Seurat were also shown. To complete the setting, the exhibition indicated certain social uses and influences of abstract art by including reproductions of architectural designs, interior decoration, typography, commercial art, films, and other practical applications of the style. Thus, one exhibition became virtually a study course in one of the principal phases of modern art. Sources that have stimulated the modern imagination, such as Paleolithic: cave paintings, African Negro sculpture, Aztec, Incan, and Mayan art, and even the art of children and the psychopathic have also been placed on view. American folk art, for example, produced between 1750 and 1900 by artists unheralded and unsung in fine art circles, was set before the modern eye because this naïve and serious work bears a stylistic affiliation with certain phases of living contemporary art. It has been a policy of the museum not to confine its interest to painting and sculpture but to include in its program almost all the living visual arts. Photography and the theater arts have been presented in large exhibitions and will probably be established as integral divisions of the museum's work. Already there are permanent museum departments devoted to architecture, industrial design, and motion pictures. Broadway Boogie Woogie Art Print Mondrian, Piet Buy at AllPosters.com The Persistence of Memory, c.1931 Art Print Dali, Salvador Buy at AllPosters.com