Early years (1929–1939) The idea for the Museum of Modern Art was developed in 1929 primarily by
Abby Aldrich Rockefeller, wife of
John D. Rockefeller Jr., and two of her friends,
Lillie P. Bliss and
Mary Quinn Sullivan. They became known variously as "the Ladies" or "the adamantine ladies". They rented modest quarters for the new museum in the
Heckscher Building at 730 Fifth Avenue in Manhattan, Abby Rockefeller had invited
A. Conger Goodyear, the former president of the board of trustees of the
Albright Art Gallery in
Buffalo, New York, to become president of the new museum. Abby became treasurer. At the time, it was America's premier museum devoted exclusively to modern art, and the first of its kind in Manhattan to exhibit European modernism. One of Rockefeller's early recruits for the museum staff was the noted
Japanese-American photographer
Soichi Sunami (at that time best known for his portraits of
modern dance pioneer
Martha Graham), who served the museum as its official documentary photographer from 1930 until 1968. Goodyear enlisted
Paul J. Sachs and
Frank Crowninshield to join him as founding trustees. Sachs, the associate director and curator of prints and drawings at the
Fogg Museum at
Harvard University, was referred to in those days as a "collector of curators". Goodyear asked him to recommend a director, and Sachs suggested
Alfred H. Barr Jr., a promising young
protégé. Under Barr's guidance, the museum's holdings quickly expanded from an initial gift of eight prints and one drawing. Its first successful loan exhibition was in November 1929, displaying paintings by
Van Gogh,
Gauguin,
Cézanne, and
Seurat. First housed in six rooms of galleries and offices on the 12th floor of Manhattan's Heckscher Building, on the corner of Fifth Avenue and 57th Street, the museum moved into three more temporary locations within the next 10 years. Abby Rockefeller's husband, John D. Rockefeller Jr., was adamantly opposed to the museum (as well as to modern art itself) and refused to release funds for the venture, which had to be obtained from other sources and resulted in the frequent shifts of location. Nevertheless, he eventually donated the land for the current site of the museum, plus other gifts over time, and thus became in effect one of its greatest benefactors. Under Alfred H. Barr Jr.'s direction, MoMA embraced a multidisciplinary approach to modern art by being the first museum to establish departments dedicated to photography and film. During that time, the museum initiated many more exhibitions of noted artists, such as the lone
Vincent van Gogh exhibition on November 4, 1935. Containing an unprecedented 66 oils and 50 drawings from the Netherlands, as well as poignant excerpts from the artist's letters, it was a major public success due to Barr's arrangement of the exhibit, and became "a precursor to the hold van Gogh has to this day on the contemporary imagination".
1930s to 1950s The museum also gained international prominence with the hugely successful and now famous
Picasso retrospective of 1939-1940, held in conjunction with the
Art Institute of Chicago. In its range of presented works, it represented a significant reinterpretation of Picasso for future art scholars and historians. This was wholly masterminded by Barr, a Picasso enthusiast, and the exhibition lionized Picasso as the greatest artist of the time, setting the model for all the museum's retrospectives that were to follow.
Boy Leading a Horse was briefly contested over ownership by the
Solomon R. Guggenheim Museum. In 1941, MoMA hosted the ground-breaking exhibition, "
Indian Art of the United States", curated by
Frederic Huntington Douglas and
Rene d'Harnoncourt, that changed the way Native American arts were viewed by the public and exhibited in art museums. The exhibition "Latin American Architecture Since 1945" was opened to the public in November 1955. The exhibition reflected the construction boom in Latin America since 1945. Recent works by architects such as
Juan O'Gorman,
Mario Pani,
Roberto Burle Marx,
Luis Barragán,
Max Cetto, and
Oscar Niemeyer were showcased. Abby Rockefeller's son
Nelson was selected by the board of trustees to become its president, in 1939, at the age of 30; he was a flamboyant leader and became the prime instigator and funding source of MoMA's publicity, acquisitions, and subsequent expansion into new headquarters on 53rd Street. His brother,
David Rockefeller, joined the museum's board of trustees in 1948, and took over the presidency when Nelson was elected governor of New York in 1958. David Rockefeller subsequently employed noted architect
Philip Johnson to redesign the museum garden, and named it in honor of his mother, the
Abby Aldrich Rockefeller Sculpture Garden. The
Rockefeller family and he have retained a close association with the museum throughout its history, with the
Rockefeller Brothers Fund funding the institution since 1947. Both
David Rockefeller Jr. and
Sharon Percy Rockefeller (wife of former senator
Jay Rockefeller) sit on the board of trustees. After the
Rockefeller Guest House at 242 East 52nd Street was completed in 1950, some MoMA functions were held in the house until 1964. In 1937, MoMA had shifted to offices and basement galleries in the
Time-Life Building in
Rockefeller Center. Its permanent and current home, now renovated, designed in the
International Style by the
modernist architects Philip L. Goodwin and
Edward Durell Stone, opened to the public on May 10, 1939, attended by an illustrious company of 6,000 people, and with an opening address via radio from the White House by President
Franklin D. Roosevelt. In 1958, workers re-clad the MoMA building's second floor with a glass facade overlooking the sculpture garden.
1958 fire On April 15, 1958, a fire on the second floor destroyed an
Monet Water Lilies painting (the current Monet
Water Lilies was acquired shortly after the fire as a replacement). The fire was started by workmen installing air conditioning, who were smoking near paint cans, sawdust, and a canvas drop cloth. One worker was killed by the fire, and several firefighters were treated for smoke inhalation. Most of the paintings on the floor had previously been removed from the work area, although large paintings including the Monet had remained in place. Art works on the third and fourth floors were evacuated to the
Whitney Museum of American Art, which abutted on the 54th Street side. Among the paintings that were rescued was
A Sunday Afternoon on the Island of La Grande Jatte, which had been on loan from the
Art Institute of Chicago. Visitors and employees trapped above the fire were evacuated to the roof, and then jumped to the roof of an adjoining townhouse.
1960s to 1980s In 1969, the MoMA was at the center of a controversy over its decision to withdraw funding from the iconic antiwar poster
And Babies. In 1969, the
Art Workers Coalition, a group of New York City artists who opposed the
Vietnam War, in collaboration with Museum of Modern Art members Arthur Drexler and Elizabeth Shaw, created an iconic protest poster called
And babies. The poster uses an image by photojournalist
Ronald L. Haeberle and references the
My Lai Massacre. The MoMA had promised to fund and circulate the poster, but after seeing the poster, MoMA pulled financing for the project at the last minute. MoMA's board of trustees included Nelson Rockefeller and
William S. Paley (head of CBS), who reportedly "hit the ceiling" on seeing the proofs of the poster. In 1971, after protests outside the museum meant to spur inclusion of African Americans
Richard Hunt was the first African American sculptor to have a major solo retrospective at the museum. In 1983, the museum more than doubled its gallery space, increased the curatorial department by 30%, and added an auditorium, two restaurants, and a bookstore in conjunction with the construction of the 56-story Museum Tower adjoining the museum. Architect
César Pelli led the design project for the expansion. Despite these expansion projects, MoMA's physical space had never been able to accommodate its growing collection. On June 14, 1984, the
Women Artists Visibility Event (W.A.V.E.), a demonstration of 400 women artists, was held in front of the newly renovated Museum of Modern Art to protest the lack of female representation in its opening exhibition, "An International Survey of Recent Painting and Sculpture". The exhibition featured 165 artists. Only 14 of those were women.
1990s and 2000s renovation By the end of the 20th century, MoMA had 100,000 objects in its collection, an increase from the 40,000 items it had in 1970. After the Dorset Hotel adjacent to the museum was placed for sale in 1996, MoMA quickly purchased it. The next year, the museum began planning a major renovation and expansion, The project nearly doubled the space for MoMA's exhibitions and programs, and features of space. MoMA broke ground on the 53rd Street project in May 2001. Over the next year, the museum gradually closed two-thirds of its galleries The Midtown building closed completely in May 2002; the next month, MoMA relocated its public-facing operations to a temporary facility called MoMA QNS in
Long Island City, Queens. The overall project, including an increase in MoMA's endowment to cover operating expenses, cost $858 million in total; the renovation of the Midtown Manhattan building alone cost $425 million. During the project, new gallery space was added on the first floor of the adjacent Museum Tower, and mechanical spaces and equipment within the tower were added or relocated. MoMA reopened on November 20, 2004. The renovation received mixed reception.
John Updike wrote in
The New Yorker that the new structure "has the enchantment of a bank after hours, of a honeycomb emptied of honey and flooded with a soft glow", while
Roberta Smith of
The New York Times said MoMA had an "overly refined building, whose poor layout shortchanges the world's greatest collection of Modern art".
Witold Rybczynski of
Slate wrote: "Most of what has been written about the new MoMA has lauded its minimalist interiors, which, even if they don't exactly disappear, have an opulently ethereal quality. [...] Yet this urban building is not experienced only from inside—and, seen from the sidewalk, Taniguchi's architecture does anything but fade away." MoMA, which owned a lot at 53 West 53rd Street west of its existing building, sold it to developer
Gerald D. Hines for $125 million in January 2007. Hines planned to build a skyscraper called Tower Verre on the site. Work on the tower was delayed because of a lack of funding following the
Great Recession.
2010s to present In 2010, MoMA completed its merger with the P.S. 1 Contemporary Art Center in
Long Island City, New York, formally renaming it as
MoMA PS1. In 2011, MoMA acquired an adjacent building that housed the
American Folk Art Museum on West 53rd Street. The building had been completed in 2001 to designs by
Tod Williams Billie Tsien Architects and was sold in connection with a financial restructuring of the Folk Art Museum. In January 2014, MoMA decided to raze the American Folk Art Museum, which was between MoMA's existing structure and the proposed tower at 53 West 53rd Street. The architectural community protested the planned demolition in part because that building was relatively new, having been completed in 2001. MoMA decided to proceed with the demolition because the American Folk Art Museum was in the way of MoMA's planned expansion, which included exhibition space within 53 West 53rd Street. The tower, designed by
Jean Nouvel and called
53W53, received construction approval in 2014. Around the same time as 53W53 was approved, MoMA unveiled its expansion plans, which encompass space in 53W53, as well as an annex on the former site of the American Folk Art Museum. In June 2017, the first phase of the $450 million expansion was completed. The museum expansion project increased the publicly accessible space by 25% compared to when the Tanaguchi building was completed in 2004. The expansion allowed for even more of the museum's collection of nearly 200,000 works to be displayed. The goal of this renovation is to help expand the collection and display of work by women, Latinos, Blacks, Asians, and other marginalized communities. Upon reopening on October 21, 2019, MoMA added of gallery space, bringing its total floor area to . ==Exhibition houses==