By Hannah Kim

Dan Flavin. untitled (to the “innovator” of Wheeling Peachblow). 1968. Fluorescent lights and metal fixtures, 8′ 1/2″ x 8′ 1/4″ x 5 3/4″ (245 x 244.3 x 14.5 cm). Helena Rubinstein Fund. © 2015 Estate of Dan Flavin/Artists Rights Society (ARS), New York

During the 1960s, New York saw an incredible explosion of experiments in sculpture. It was a very fertile field, and The Museum of Modern Art was right in there. In 1969, we acquired

Since its founding in 1929, The Museum of Modern Art’s pioneering directors, curators, and trustees have dedicated themselves to collecting the foremost examples of the “art of our time.” To celebrate the range of styles and ideas that constitute the collection’s evolving foundation, from legendary favorites to lesser-known masterworks and contemporary landmarks, the Museum recently published Painting and Sculpture at The Museum of Modern Art, with an introduction by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture. Here, she tells us a bit about the process of choosing works for the book, which represents only about 5% of the Museum’s Painting and Sculpture Collection.

In your introduction, you describe the prescience of the Museum’s founding director, Alfred H. Barr, Jr., as well as MoMA’s trustees and curators, in acquiring works from yet-to-be-established artists such as Jasper Johns. Who are some other artists that stand out to you as having achieved a similar status?

Read more here:: Painting and Sculpture at The Museum of Modern Art: A Q&A with Ann Temkin