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MoMA PS1

MoMA PS1 is a nonprofit contemporary art institution located at 22-25 Jackson Avenue in Long Island City, Queens, New York City, housed in a repurposed former public school building known as P.S. 1.^[1]^[2]
Founded in 1971 by curator Alanna Heiss as the Institute for Art and Urban Resources, it emerged as a pioneer in the alternative art space movement, emphasizing experimental exhibitions, site-specific installations, and support for emerging artists in underutilized urban spaces.^[1]^[3]
Renamed P.S.1 Contemporary Art Center in 1976 and formally affiliated with the Museum of Modern Art in 2000—leading to its current designation as MoMA PS1—it has maintained a focus on boundary-pushing contemporary practices while integrating with MoMA's broader programmatic resources.^[1]^[2]
Notable for initiatives like the annual Warm Up summer music series, which has showcased underground and emerging talent since the late 1990s, and long-term installations such as James Turrell's light works, MoMA PS1 continues to prioritize artist-centered programming and community engagement in its historic structure.^[4]^[5]

History

Founding and Early Initiatives

The Institute for Art and Urban Resources was established in 1971 by curator Alanna Heiss to organize exhibitions and events in underutilized urban spaces, reflecting the era's economic challenges and the need for affordable venues amid New York City's fiscal crisis.^[3] Heiss's early projects under the Institute included the multifaceted Brooklyn Bridge Event in May 1971, which featured performances, sculptures, and site-specific works along the East River, and subsequent initiatives like the Clocktower exhibitions starting in 1972, which repurposed a historic clocktower in Lower Manhattan for artist-driven programming.^[6] These efforts positioned the Institute as a pioneer in the alternative space movement, emphasizing artist autonomy and raw, non-commercial environments over polished gallery presentations.^[1] In 1976, Heiss expanded the Institute's model by founding P.S.1 Contemporary Art Center in the abandoned Public School 1 building at 46-01 21st Street in Long Island City, Queens—a Romanesque Revival structure built in 1892 that had been vacant since 1960 and lacked basic amenities like heat, plumbing, and intact windows.^[3] ^[7] The opening exhibition, Rooms, ran from June 9 to 26, 1976, inviting 78 artists to intervene directly in the building's deteriorated classrooms and corridors with site-specific installations, paintings, sculptures, and performances, thereby transforming the structure itself into a collaborative artwork.^[8] This initiative underscored P.S.1's commitment to experimentation, allowing artists to inhabit and adapt spaces without curatorial mediation, a stark contrast to traditional museums.^[1] Early programs at P.S.1 built on this foundation by integrating live/work residencies, where artists occupied rooms to create ongoing works amid the building's decay, fostering interdisciplinary practices like performance and video art that thrived in the unpolished setting.^[9] By the late 1970s, these efforts had established P.S.1 as a hub for emerging talents excluded from Manhattan's commercial galleries, with initiatives emphasizing urban reuse and artist-led curation to counter institutional elitism.^[1] The approach drew from first-hand observations of New York's industrial decline, prioritizing causal links between physical space and creative output over aesthetic sanitization.^[7]

Independent Operations and Growth

P.S.1 Contemporary Art Center, founded by Alanna Heiss in 1971 as part of the Institute for Art and Urban Resources Inc., initially organized temporary exhibitions and provided studio spaces in underutilized New York City properties to support artists amid limited institutional opportunities.^[3] In 1976, it established a permanent base in a dilapidated former elementary school at 22-25 Jackson Avenue in Long Island City, Queens, which lacked basic infrastructure such as roofing, windows, and plumbing at the time of occupancy.^[7]^[10] The center's inaugural exhibition, Rooms in 1976, invited over 70 artists to create site-specific installations across the building's classrooms and corridors, establishing an early model for raw, adaptive exhibition practices that emphasized artist agency over polished presentation.^[10]^[11] Heiss's approach leveraged the site's industrial decay to foster experimental work, with the exhibition catalog documenting contributions from figures including Louise Bourgeois and Sol LeWitt.^[12] Core to its operations was the Studio Program, launched in 1976 and continuing through 2004, which allocated raw spaces within the building to hundreds of emerging and international artists, enabling independent production without traditional gallery constraints.^[10] In 1980, P.S.1 began hosting the New York City Department of Cultural Affairs' Materials for the Arts initiative, a donation-based reuse program that supplied artists and schools with surplus industrial materials, underscoring the center's commitment to sustainable, low-cost creative infrastructure.^[10] By 1982, P.S.1 had integrated into the city's Cultural Institutions Group, securing public support and formal status as a nonprofit arts organization while maintaining curatorial autonomy.^[10] The 1990s marked infrastructural maturation, including a 1997 campus-wide renovation that introduced a central courtyard for outdoor programming, alongside the debut of the Warm Up summer music and performance series in 1998 and the Young Architects Program in 1999, which commissioned site-specific architectural interventions to enhance public interaction with the grounds.^[10] These developments positioned P.S.1 as a hub for interdisciplinary experimentation, hosting regular exhibitions, performances, and artist residencies that prioritized underrepresented voices and unconventional formats over commercial viability.^[13] Under Heiss's sustained leadership from founding through 2008, the institution expanded its programmatic scope without compromising its alternative ethos, transforming the former school into a fixed yet flexible venue that drew sustained engagement from artists and audiences seeking alternatives to Manhattan-centric establishments.^[13]^[14]

Affiliation with MoMA and Institutional Evolution

In February 1999, P.S.1 Contemporary Art Center and the Museum of Modern Art (MoMA) announced plans for an institutional merger designed to last 10 years, with the goal of combining P.S.1's focus on emerging contemporary artists and experimental exhibitions with MoMA's broader resources and audience.^[2] The affiliation was formalized in January 2000, following endorsement from New York City, which owns the P.S.1 building, allowing P.S.1 to retain operational independence while benefiting from shared curatorial, financial, and programmatic support.^[1] To mark the affiliation, P.S.1 launched the inaugural Greater New York exhibition in February 2000, a collaborative survey of contemporary art in the New York region featuring over 100 artists, which has since recurred approximately every five years as a signature joint initiative.^[15] The merger process unfolded gradually, preserving P.S.1's site-specific and artist-driven ethos amid MoMA's institutional framework; by 2006, initial phases of integration were reported as complete, including enhanced funding and visitor access reciprocity, such as MoMA ticket holders gaining free entry to P.S.1 within 14 days.^[16] Full operational alignment concluded on December 31, 2010, coinciding with the retirement of founder Alanna Heiss after 36 years of leadership and the official renaming of the institution to MoMA PS1, a designation first proposed in 1999.^[2] This evolution enabled MoMA PS1 to maintain its Queens location and experimental programming—such as artist residencies and Warm Up summer music series—while expanding reach, attracting approximately 200,000 visitors annually by the early 2010s and integrating into MoMA's governance without diluting its alternative space origins.^[17] The structure emphasized mutual enhancement rather than assimilation, with MoMA PS1 continuing to prioritize underrepresented and site-responsive works distinct from MoMA's modernist collection focus.^[1]

Building and Facilities

Original Structure and Site History

The building that houses MoMA PS1 was constructed in 1892 as Public School No. 1, known as the First Ward School, marking it as the inaugural public elementary school in Long Island City, Queens, then an independent municipality separate from New York City.^[18]^[19] Designed in the Romanesque Revival style, the red-brick structure featured extensive terra cotta ornamentation and encompassed 35 classrooms across multiple stories, reflecting the era's emphasis on durable, institutional architecture for expanding urban populations.^[20] The site at 22-25 Jackson Avenue occupied a full city block bounded by Jackson Avenue, 46th Avenue, 23rd Street, and 21st Street, strategically located amid the neighborhood's industrial and residential growth.^[18] Operational until 1963, the school served generations of local students before enrollment declines led to its closure as an educational facility.^[1] Following decommissioning, the building transitioned to municipal storage use, with its expansive, underutilized interiors—originally equipped for pedagogical activities—gradually deteriorating amid Queens' post-war demographic shifts and reduced demand for such aging infrastructure.^[2] By the mid-1970s, the vacant structure stood in a state of advanced disrepair, its once-imposing facade weathered and interiors compromised, prompting city considerations for demolition to repurpose the site amid broader urban renewal pressures in Long Island City.^[21] This historical trajectory preserved the building's original footprint and architectural integrity, distinguishing it as a rare surviving example of late-19th-century school design anchored to its founding location.^[1]

Adaptations and Permanent Features

The original P.S. 1 school building, constructed in the late 19th century and decommissioned in 1971, underwent minimal initial adaptations upon its conversion into an art center in 1976, emphasizing the preservation of its raw, industrial character to serve as a flexible "canvas" for contemporary art. Founder Alanna Heiss secured a 20-year lease for the structure, allowing artists in the inaugural "Rooms" exhibition to intervene directly by breaking through walls and floors, which set a precedent for adaptive reuse without extensive structural overhauls.^[1] ^[2] Major renovations occurred between 1994 and 1997, designed by architect Frederick Fisher and Partners, which included the installation of an elevator for accessibility, the transformation of a former parking lot into a large outdoor courtyard serving as the main entrance, and general modernization of infrastructure to support exhibition needs while retaining the building's idiosyncratic spaces.^[2] These changes addressed longstanding challenges such as inadequate climate control and circulation, with further targeted updates like the renovation of the south wing galleries to provide museum-grade environmental standards.^[1] In 2021, a partnership with the New York City Department of Transportation created an adjacent public plaza on 46th Avenue, enhancing site accessibility and public engagement.^[1] Permanent features include several site-specific artist interventions integrated into the architecture. James Turrell's "Meeting," a Skyspace installation completed in 1980 during the "West/East" exhibition, consists of a precisely framed rooftop aperture that simulates an infinite sky, restored in 1986 and again in 2016 following building-wide updates to ensure its longevity as a fixed perceptual artwork.^[2] From the 1976 "Rooms" exhibition, works by Alan Saret and Richard Artschwager remain embedded as enduring modifications, alongside approximately 15 other artist interventions scattered throughout the structure, such as alterations to floors and walls that have become integral to the site's identity.^[2] ^[1] Additionally, Philip Johnson's 1999 Dance Pavilion in the courtyard functions as a permanent fixture supporting ongoing public programs like the Warm Up series.^[2] The boiler room, with its exposed machinery, persists as a signature raw space for immersive installations, exemplifying the institution's commitment to unpolished adaptive permanence over polished monumentalism.^[1]

Programs and Exhibitions

Core Artist and Exhibition Initiatives

MoMA PS1's core artist initiatives center on fostering experimental and boundary-pushing work by emerging and mid-career practitioners, primarily through exhibition platforms that prioritize site-specific installations and underrepresented voices. The Greater New York series, inaugurated in 2000 and held irregularly every two to five years, functions as the institution's signature survey of contemporary artists residing in the New York City area, emphasizing those at pivotal early stages with innovative practices.^[22] The fifth edition in 2021 featured over 80 participants, integrating painting, sculpture, performance, and digital media to capture evolving local artistic currents.^[22] A foundational effort was the Studio Program, launched in 1971 under founder Alanna Heiss as the Workspace initiative, which allocated free on-site studios to national and international artists for periods of up to a year.^[23] This program supported over 1,000 artists across three decades, culminating in annual open-studio exhibitions that showcased raw, process-oriented works and propelled careers of figures like Ai Weiwei and Thomas Hirschhorn.^[23] It concluded around 2001 amid facility expansions, though its legacy persists in PS1's commitment to artist-driven experimentation.^[1] Contemporary extensions include partnerships amplifying residency cohorts, notably with the Studio Museum in Harlem since 2018, presenting annual exhibitions of artists-in-residence.^[24] The 2023–24 iteration, Pass Carry Hold, displayed new commissions by sonia louise davis, Malcolm Peacock, and Zoë Jackson, incorporating immersive audio, textiles, and paintings to probe themes of embodiment and space.^[25] Similarly, earlier shows like And ever an edge (2022–23) highlighted cohort explorations of physical and psychic boundaries through media-spanning installations.^[26] These initiatives underscore PS1's role in bridging institutional resources with grassroots talent, often via curatorial selections that favor underrepresented demographics without predefined thematic constraints.^[1] Supplementary exhibition formats, such as solo projects for international emergents, further embed artist agency; examples include 2009 presentations by Rey Akdogan, Edgardo Aragón, and Ilja Karilampi, featuring video premieres and sculptural interventions tailored to PS1's industrial architecture.^[27] Themed series like First Steps: Emerging Artists from Japan (biennial since 1995, sponsored by Philip Morris K.K.) and Generation Z (1999) have historically spotlighted global newcomers, integrating cultural dialogues into PS1's programming.^[28]^[29]

Music, Performance, and Public Events

MoMA PS1's music, performance, and public events programs emphasize experimental practices, often integrating sound, movement, and audience interaction with contemporary art exhibitions. These initiatives trace back to the institution's founding, with early site-specific performances organized by Alanna Heiss under the Brooklyn Bridge on May 21, 1971, marking one of the first artist-driven events in its history.^[2]^[30] By 1979, the Sound exhibition featured works by over 160 artists across main spaces from September 30 to November 18, highlighting audio-based installations and performances.^[2] The Warm Up series stands as PS1's flagship outdoor music program, held annually in the courtyard and recognized as one of the longest-running music series within a museum setting. Launched in the late 1990s, it reached its 27th season in 2025, typically spanning six Friday evenings from mid-July to late August, with events running from 4 to 10 p.m. and incorporating food vendors alongside art access.^[4]^[31] The series spotlights emerging and underground talent, primarily through DJ sets and live electronic performances; the 2025 lineup included artists such as MikeQ on July 18, Sarz on July 25, and John Glacier on August 8.^[4]^[32] Performance events frequently complement exhibitions, blending disciplines like dance, theater, and multimedia. For instance, Ceremonies Out of the Air: Ralph Lemon, presented in 2024, occupied the third-floor galleries with dance, drawings, photographs, sculpture, paintings, and video, creating immersive encounters tied to the artist's choreography.^[33]^[34] Retrospectives such as Carolee Schneemann: Kinetic Painting have showcased historical performance works, including multimedia pieces from her six-decade career.^[35] Public events extend accessibility through community-oriented gatherings, such as the annual Halloween Ball hosted by Susanne Bartsch on October 25, 2025, and performances like The Voluptuous Horror of Karen Black on October 11, 2025.^[36] These programs foster direct engagement, positioning PS1 as a venue where music and performance challenge conventional museum boundaries.^[36]

Architectural and Site-Specific Programs

The Young Architects Program (YAP), an annual collaboration between the Museum of Modern Art and MoMA PS1 initiated in 2000, commissions emerging architects to design temporary, site-specific outdoor installations in the MoMA PS1 courtyard.^[37] These structures emphasize sustainability, innovation, and functionality, providing shaded seating, water features, and gathering spaces primarily to support the summer Warm Up music series while engaging visitors with experimental architecture.^[37] By 2019, the program had completed 20 iterations, fostering architectural experimentation within the constraints of a modest budget and seasonal timeline, with designs often incorporating recycled or low-impact materials to address environmental concerns.^[38] Notable YAP projects include the 2007 installation by Ruy Klein, which explored modular and adaptive forms responsive to the courtyard's urban context, and the 2016 "Weaving the Courtyard" by Escobedo + Soliz, featuring a woven canopy, earthworks, a sand bed, a pool, and rope elements creating shaded, textured environments.^[39] ^[40] In 2022, Pedro & Juana designed a 40-foot-high cyclorama-structured junglescape, transforming the space into an immersive, plant-filled enclosure that hosted music events and highlighted biodiversity themes.^[41] Each installation is erected in spring, operational through summer, and dismantled by fall, allowing annual reinvention while preserving the site's raw, adaptive character derived from its former school building.^[37] Beyond YAP, MoMA PS1's Artist Interventions program integrates site-specific architectural works into the building's fabric, treating the structure as a canvas for interventions that form a metaphorical "second skin."^[42] These commissions, varying in scale and materials, alter facades, interiors, and entry points to create dynamic encounters, such as embedded sculptures or modified surfaces that reveal the building's history and support ongoing exhibitions.^[42] Examples include works that coexist with performance spaces and artist studios, enhancing the institution's commitment to adaptive reuse since its 1971 founding in the repurposed P.S. 1 schoolhouse.^[43] This approach underscores PS1's role in commissioning architecture that responds directly to the site's industrial and educational past, prioritizing experiential and contextual dialogue over permanent fixtures.^[1]

Management and Funding

Governance and Leadership

MoMA PS1 operates under a governance framework that emphasizes institutional autonomy within its long-standing affiliation with The Museum of Modern Art (MoMA), established via a memorandum of understanding in January 2000 and advanced through a full merger in December 2006. This structure enables PS1 to retain a separate Board of Directors responsible for strategic oversight, fiduciary duties, and executive appointments, while leveraging MoMA's administrative, curatorial, and financial support systems. The board consists of 33 members, encompassing art patrons, collectors, and ex-officio figures such as the Mayor of New York City, ensuring a blend of expertise in contemporary art, philanthropy, and public policy.^[44]^[16]^[45] Leadership of the board is held by Chair Robert Soros, with Vice-Chairs Philip Aarons and Cav. Simon Mordant AO, Treasurer John L. Thomson, and Secretary James E. Grooms. These officers guide PS1's mission toward innovative programming amid its Queens location, drawing on members' networks for fundraising and artist relations. Prior chairs, such as Sarah Arison—who served until transitioning to MoMA's board presidency in 2024—have influenced periods of transition, including the establishment of a $5 million Strategic Transition Fund in 2020 to bolster resilience post-financial challenges.^[44]^[46]^[47] At the executive level, Connie Butler serves as The Agnes Gund Director, a position named for longtime supporter and MoMA trustee Agnes Gund. Appointed on May 8, 2023, and commencing duties on September 26, 2023, Butler succeeded interim leadership following Kate Fowle's tenure, bringing experience from her prior role as Chief Curator at the Hammer Museum (2013–2023), where she organized exhibitions like Now Dig This: Art and Black Los Angeles 1960–1980. Supported by a director's office including Executive Assistant Annie Moretto, Butler coordinates with MoMA Director Glenn D. Lowry to integrate PS1's experimental ethos into the parent institution's framework, prioritizing artist-driven initiatives over centralized control.^[44]^[48]^[49]

Financial Structure and Revenue Sources

MoMA PS1 operates as a 501(c)(3) nonprofit organization under the corporate membership of the Museum of Modern Art, which provides substantial operational support while maintaining separate financial reporting. For the fiscal year ending June 2023, total revenue reached $11,892,006, with contributions and grants comprising the dominant source at $11,025,998 or 92.7%.^[50] This category encompasses unrestricted and restricted gifts from individuals, foundations, and corporations, including $2,596,572 in operating support from MoMA. Notable foundation contributions include a $1 million gift from the Teiger Foundation in 2024 to establish an exhibition fund for curatorial initiatives.^[51] Program service revenue generated $696,400 or 5.9% of total revenue in fiscal year 2023, primarily from admissions, memberships, and event ticket sales such as the Warm Up summer music series.^[50] Investment income contributed minimally at $11,998 or 0.1%, reflecting a conservative endowment strategy focused on long-term sustainability rather than yield generation. Other revenue, including facility rentals and auxiliary activities, added $157,610 or 1.3%.^[50] New York City provides in-kind support as owner of the PS1 building, covering property maintenance and contributing to capital projects like $5.1 million for roof repairs in 2021, though direct operating grants from municipal sources remain a small fraction of the budget.^[52] Corporate partnerships and dedicated funds, such as the Vision Fund with minimum annual commitments of $25,000, further bolster philanthropic inflows to underwrite experimental programming.^[53] Overall, the structure emphasizes donor-driven funding over self-generated income, aligning with PS1's mission to prioritize artist-centric, risk-taking exhibitions amid fluctuating earned revenues.^[50]

Controversies and Criticisms

Donor Ties and Activist Protests

In October 2019, British artist Phil Collins withdrew his video installation They Think It's All Over from the group exhibition Like a Frog in Boiling Water at MoMA PS1, citing the museum's ties to trustee Larry Fink, whose firm BlackRock held investments in private prison operators GEO Group and CoreCivic.^[54] Activists from groups like Decolonize This Place argued that such financial links conflicted with the institution's mission, though BlackRock's portfolio included broad market investments beyond prisons, and no evidence emerged of direct operational influence on museum programming.^[55] During the January 2020 run of the exhibition Theater of Operations: The Gulf Wars 1991–2011 at MoMA PS1, approximately 37 participating artists—roughly half the total—signed an open letter demanding that MoMA sever relations with trustees including Fink and Pat Mitchell, whose board role at Time Warner involved media conglomerates with defense contractor ties.^[56] Artist Michael Rakowitz further protested by requesting that his video work Return be paused indefinitely during public hours, highlighting alleged institutional complicity in "toxic philanthropy" through board members' business interests in arms manufacturing and incarceration; museum staff complied, but Rakowitz described the allowance as performative rather than substantive reform.^[57] On March 1, 2020, dozens of #MoMADivest activists occupied MoMA PS1's lobby, chanting against chairman Leon Black's Apollo Global Management for its investments in defense firms like Lockheed Martin and ties to Jeffrey Epstein, whom Black had advised financially.^[58] The action, organized in solidarity with artist Ali Yass, accused the museum of enabling "global violence" via donor funding, though Apollo's defense stakes represented standard private equity diversification, and Black's Epstein connection stemmed from disclosed financial services rather than shared criminality.^[59] Similar tensions arose in the concurrent Gulf Wars exhibition, where artists reported feeling dismissed after voicing opposition to Black, contributing to broader calls for his removal.^[60] These protests reflected a pattern of artist-led pushback against MoMA's governance, as PS1's operational integration with the parent institution amplified scrutiny of shared trustees who donated millions—such as Black's $75 million expansion gift in 2006—enabling programs amid fiscal reliance on private capital exceeding 40% of revenue in recent years. Black resigned as MoMA chairman in March 2021 following accumulated pressure, including artist petitions totaling over 1,000 signatures, though the board retained other philanthropists with comparable investment profiles.^[61] No PS1-specific divestments occurred, and exhibitions continued without policy shifts on donor vetting.^[62]

Internal Operations and Legal Disputes

In 2018, art handlers and maintenance workers at MoMA PS1, represented by the International Union of Operating Engineers Local 30, unionized and staged protests demanding wage parity with their counterparts at the main MoMA campus in Manhattan, where full-time staff earned up to $47 per hour compared to PS1's top rate of $30 per hour.^[63] Negotiations, which began after five meetings with management, were described by union representatives as having turned "toxic," highlighting disparities in compensation for physically demanding roles amid rising New York City living costs.^[64] By February 2024, unionized staff rallied again outside the Queens facility, protesting wages as low as $19.50 per hour for some maintenance workers—above the state's $16 minimum but insufficient for the area's expenses—and inadequate health benefits, with longtime employee Jose Paz emphasizing the need for equitable pay to retain skilled labor.^[65]^[66] A prominent legal dispute arose in July 2018 when Nikki Columbus, former executive editor of Parkett magazine, filed a complaint with the New York City Commission on Human Rights accusing MoMA PS1 of gender, pregnancy, and caregiver discrimination after the museum rescinded her job offer as associate curator of performance upon learning she had recently given birth.^[67] Columbus alleged that senior staff, including three male managers, questioned her ability to commit to the role due to new motherhood, prompting a petition signed by artists and advocates decrying the decision as discriminatory against working mothers.^[68] MoMA PS1 denied any bias, asserting the withdrawal stemmed from unrelated hiring process issues, but the parties reached an undisclosed settlement in March 2019 without admission of wrongdoing.^[69]^[70] This case underscored tensions in internal hiring practices at artist-centric institutions, where operational demands intersect with personal life considerations.

Ideological Biases in Programming

MoMA PS1's exhibition programming has drawn criticism for exhibiting a pronounced ideological tilt toward progressive themes, prioritizing works that critique capitalism, colonialism, patriarchy, and institutional power through lenses of identity politics, racial justice, and anti-authoritarianism. This manifests in recurrent selections of artists and projects engaging social activism, such as the 2015 exhibition Zero Tolerance, which featured protest art including Pussy Riot's performances against Russian authoritarianism and videos documenting neo-Nazi harassment of LGBTQ+ demonstrators in Serbia, framing art as a tool for resistance against perceived fascism and inequality.^[71] Similarly, the earlier WACK! Art and the Feminist Revolution (originating from MoMA's network and echoed in PS1's feminist-leaning shows) surveyed over 120 female artists and collectives from 1965–1980, emphasizing gender-based subversion of patriarchal norms without equivalent platforms for counter-narratives.^[72] This pattern aligns with the contemporary art field's broader ideological homogeneity, where empirical surveys and analyses reveal overwhelming left-leaning affiliations among artists and curators, often sidelining traditionalist, conservative, or market-skeptical viewpoints that do not conform to social justice paradigms. Critics contend that such curation transforms PS1 from an experimental venue into a de facto advocacy space, as seen in recent shows like Theater of Operations: The Gulf Wars (2019), which interrogated U.S. military interventions through artist critiques but sparked internal protests when board ties to defense contractors highlighted perceived institutional hypocrisy.^[60] Broader institutional analyses describe this as part of a "crisis of purpose" in American museums, where programming advances equity agendas over aesthetic or historical pluralism, eroding public trust amid accusations of erasing non-progressive art histories under ideological pretexts.^[73] While PS1's curators defend selections as reflective of boundary-pushing contemporary practice, detractors, including those from outlets skeptical of mainstream art discourse's leftward drift, argue the absence of balanced representation—such as exhibitions celebrating classical techniques or free-market individualism—stifles artistic diversity and caters to an elite, urban progressive audience. This bias is compounded by the art world's structural dynamics, where funding and acclaim favor ideologically aligned works, as evidenced by recurring themes in PS1's Greater New York surveys (e.g., 2015 and 2021 editions), which dwell on urban decay, migration, and radical pasts through documentary and surrealist lenses critical of systemic inequities.^[74] Such programming, while innovative, risks reinforcing echo chambers, with limited empirical counter-evidence of ideological pluralism in PS1's 50-year history of over 200 exhibitions.^[75]

Impact and Legacy

Contributions to Contemporary Art

MoMA PS1 has significantly advanced contemporary art by prioritizing experimental, site-specific installations and emerging artists since its founding in 1976, transforming a disused Queens public school into a venue for non-commercial exploration. The inaugural "Rooms" exhibition featured works by over 70 artists, including Lawrence Weiner and Richard Serra, who created immersive, building-integrated pieces that challenged traditional gallery formats and emphasized artist-driven spatial interventions.^[76] This approach established PS1 as a pioneer in adaptive reuse of architecture for art, fostering participatory and ephemeral works that prioritized process over commodification.^[2] Key programs have sustained this focus on innovation. The Studio Program, active from 1976 to 2004, provided affordable live-work spaces and resources to hundreds of artists, enabling sustained experimentation outside Manhattan's commercial pressures and launching careers through direct institutional support.^[10] Similarly, the recurring Greater New York survey, initiated in 2000 and held every five years, has showcased over 500 New York-based artists and collectives, such as in the 2021 edition featuring 47 participants exploring expanded narratives beyond established canons.^[77] These initiatives have democratized access to exhibition opportunities, particularly for underrepresented practitioners, by emphasizing local and outsider perspectives over market-driven selections.^[78] PS1's commissioning of permanent and temporary site-specific projects has further embedded experimental art in public consciousness. Notable examples include James Turrell's light installation "Meeting" (1980, reactivated ongoing) and interventions by Keith Sonnier, which manipulate sensory elements like light and space to heighten perceptual awareness.^[79] Performance-oriented series, such as Sunday Sessions (launched 2009, involving over 3,000 participants) and Warm Up music events (since 1998), have integrated interdisciplinary practices, drawing large audiences to hybrid art-music experiences that blur disciplinary boundaries.^[10] By prioritizing artist-centric models over institutional prestige, PS1 has influenced global curatorial practices, serving as an incubator for boundary-pushing ideas that prioritize empirical engagement with materials, space, and community over ideological framing.^[80]

Broader Cultural and Economic Influence

MoMA PS1 has shaped contemporary art culture by prioritizing experimental and boundary-pushing practices, establishing itself as a key venue for emerging and under-recognized artists since its founding in 1976.^[1] Its National and International Studio Program, active from 1971 through the early 2000s, provided workspace and resources to foster artistic development, contributing to the institution's role in the alternative art space movement that emphasized artist-driven initiatives over commercial galleries.^[23] The recurring Greater New York survey, initiated after its 2000 affiliation with MoMA, has featured over 500 New York-based artists across editions, amplifying local talent and diverse perspectives on urban issues.^[1] The Warm Up series, launched in 1998, exemplifies PS1's crossover influence on music and performance culture, evolving into an annual outdoor event that draws thousands for DJ sets, live acts, and art installations, often credited with sustaining New York's raw, inclusive party ethos against encroaching commercialization.^[81]^[82] Sunday Sessions, ongoing since 2009, have engaged over 3,000 artists, musicians, and activists in public programs, bridging gallery art with community interaction and expanding audiences beyond traditional museum-goers.^[1] Economically, PS1 has bolstered Long Island City's transition from industrial decline to a cultural hub, attracting arts-related tourism and investment that spurred residential and commercial growth, including tech firms and high-rises visible from its site.^[83] This development has enhanced Queens' profile within New York City's broader tourism economy, though it has accelerated gentrification, with community exhibitions like Malikah highlighting rent hikes of 34% in nearby areas amid displacement risks for long-term residents.^[84] As an affiliate drawing from MoMA's visitor base, PS1 supports local employment and vendor activity, with its events and exhibitions generating ancillary spending in the neighborhood.^[85]

Evaluations of Success and Limitations

MoMA PS1 has achieved notable success in fostering experimental contemporary art through its longstanding studio programs, which since 1971 have provided workspace and resources to over 500 emerging, established, and under-recognized artists, enabling many to gain international exposure and career advancement.^[1]^[23] Its quinquennial "Greater New York" exhibitions have effectively surveyed the city's art scene, featuring hundreds of local artists and drawing critical attention to underrepresented voices, as evidenced by standout inclusions like those in the 2021 edition that highlighted diverse practices in sculpture, photography, and performance.^[86]^[87] The institution's affiliation with the Museum of Modern Art since 2000 has amplified its reach, contributing to combined annual attendance exceeding 3 million visitors in peak years and bolstering financial stability, reflected in a 91% accountability score from Charity Navigator.^[88]^[89] Despite these accomplishments, MoMA PS1 faces limitations in sustaining its founding radicalism, with critics observing that programming often "confirms rather than surprises," prioritizing institutional familiarity over boundary-pushing innovation amid its integration into larger museum structures.^[90] Exhibitions like "Greater New York" have been critiqued for flawed curatorial selections that fail to fully capture New York's dynamic output, generating controversy over representativeness and execution.^[91]^[92] Operational challenges, including periods of perceived rudderlessness—such as the four years preceding 2022—have periodically diminished programming vitality, while visitor numbers, averaging around 200,000 annually, remain modest relative to mainstream institutions, underscoring a niche rather than mass appeal.^[93]^[94] Artist protests over donor affiliations have highlighted tensions between financial dependencies and artistic independence, potentially compromising the institution's experimental ethos.^[62]

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[12]
Alanna Heiss - Rooms P.S. 1 - Printed Matter
Curated by then Executive Director Alanna Heiss, Rooms featured site-specific installations by seventy-eight artists in the unrenovated former schoolhouse.
[13]
Can P.S. 1 Director Alanna Heiss's Vision for Her Museum Outlast ...
May 2, 2008 · Over 32 years, she built P.S. 1 into one of the city's most refreshingly unpredictable venues for contemporary art, drawing crowds of young, ...
[14]
P.S. 1: Art In Unlikely Places - The New York Times
Since co-founding the Institute for Art and Urban Resources in 1971, Heiss has pursued the use of underutilized New York real estate as showcases for art, and ...
[15]
Greater New York - MoMA through Time
In February of 2000, P.S.1 Contemporary Art Center opened Greater New York, its first exhibition to be produced collaboratively with The Museum of Modern Art.
[16]
MoMA completes merger with PS1 - The Art Newspaper
Dec 1, 2006 · The Museum of Modern Art completes its merger in January with PS1, the institution's contemporary art branch in Queens.
[17]
MoMA PS1 - ArtBook/DAP
In 2000, MoMA PS1 became an affiliate of the Museum of Modern Art to extend the reach of both institutions, and combine MoMA PS1's contemporary mission with ...
[18]
PS 1 | NewYorkitecture
Feb 13, 2015 · PS 1, originally First Ward School, was built in 1892 when Long Island City was actually an independent city. The building's 35 classrooms ...Missing: original | Show results with:original
[19]
First Ward School in Long Island City - LICqueenstv
Sep 7, 2014 · Today know as MoMA PS1. This building was built in 1892 and served as the first public elementary school in Long Island City. In 1963, it ...
[20]
Urban - Public School 1, ca. 1970. The First Ward ... - Facebook
Nov 29, 2023 · Public School 1, ca. 1970. The First Ward School was built in 1892 in a Romanesque Revival style rendered in red brick and terra cotta.
[21]
How An Abandoned Queens School Became PS1, A Mecca For ...
Oct 28, 2019 · Built in 1893 when Long Island City was its own municipality, the terra cotta Romanesque school had cost a fortune to build and was replete with ...
[22]
Greater New York 2021 - MoMA PS1
Greater New York, MoMA PS1's signature survey of artists living and working in the New York City area, returns for its fifth edition.
[23]
National and International Studio Program - MoMA
Providing studio space for artists was one of the original goals of MoMA PS1 when Alanna Heiss began the Workspace program in 1971.Missing: details | Show results with:details
[24]
The Studio Museum in Harlem Partnership - MoMA
The two-year fellowship provides participants with the opportunity to spend a year at each institution, gaining experience in the curatorial or public ...Missing: details | Show results with:details<|separator|>
[25]
Pass Carry Hold : Studio Museum in Harlem Artists-in ... - MoMA PS1
Sep 26, 2024 · Pass Carry Hold: Studio Museum Artists in Residence 2023–24 features the work of 2023–24 artists in residence sonia louise davis, Malcolm Peacock, and Zoë ...
[26]
And ever an edge: Studio Museum Artists in Residence 2022–23
And ever an edge: Studio Museum Artists in Residence 2022–23 features new work by the 2022–23 cohort of the Studio Museum's foundational residency program.Missing: details | Show results with:details
[27]
Solo projects by Rey Akdogan, Edgardo Aragón, Ilja Karilampi, and ...
MoMA PS1 presents a series of solo project exhibitions by four international emerging artists, including the New York premiere of videos by both Edgardo ...
[28]
First Steps: Emerging Artists from Japan - MoMA
P.S.1 Contemporary Art Center presents First Steps: Emerging Artists from Japan, a biennial exhibition established in 1995 by Philip Morris K.K., the Japanese ...
[29]
Generation Z | MoMA
P.S.1 Contemporary Art Center launches Generation Z, an exhibition-project exploring the attitudes of emerging artists at the end of the century. Generation ...
[30]
How MoMA PS1 Blurs the Line Between Museum and Music Venue
Sep 29, 2021 · Its first official performance took place under the Brooklyn Bridge in May 1971, five years before it moved into its permanent space in Queens.
[31]
Warm Up 2025 - MoMA
August 22, 2024. MoMA PS1. Warm Up, MoMA PS1's signature music series, returns for its 27th season this summer with DJ sets and ...
[32]
EXCLUSIVE: MoMA PS1's impressive 2025 Warm Up lineup just ...
Jun 10, 2025 · MoMA PS1 2025 Warm Up lineup ; July 18. MikeQ / Qween Beat (New Jersey) ; July 25. Sarz / UnitedMasters (Benin City) ; August 1. Eric D. Clark / ...<|separator|>
[33]
Ceremonies Out of the Air: Ralph Lemon - MoMA PS1
Ceremonies Out of the Air: Ralph Lemon comprises dance, drawings, photographs, sculpture, paintings, and video throughout the museum's expansive third-floor ...Missing: examples | Show results with:examples
[34]
Something in the Air? Moonwalks and Mandalas in Ralph Lemon's ...
Nov 15, 2024 · The choreographer and visual artist brings performance and paintings to a meteor shower of an exhibition at MoMA PS1.
[35]
Carolee Schneemann: Kinetic Painting - MoMA
MoMA PS1 presents the first comprehensive retrospective of Carolee Schneemann, spanning the artist's prolific six-decade career.
[36]
Music & Performance - MoMA PS1
Artist-centered and community-driven, MoMA PS1 embraces boundary-breaking ideas and experimental practices. A place where audiences can encounter and engage ...Missing: public | Show results with:public
[37]
About / Young Architects Program - MoMA
The Young Architects Program is an annual collaboration between The Museum of Modern Art and MoMA PS1 that fosters innovative design research and promotes ...
[38]
Experiments in Design: 20 Years of the MoMA PS1 Young Architects ...
Jul 30, 2019 · The Young Architects Program (YAP) offers emerging talent the chance to design temporary outdoor installations at MoMA PS1, providing respite ...
[39]
Ruy Klein - New York / Young Architects Program
The Young Architects Program is an annual collaboration between The Museum of Modern Art and MoMA PS1 ... specific installations, historical surveys, arts ...<|separator|>
[40]
MoMA PS1 - New York / Young Architects Program
"Weaving the Courtyard" features a woven canopy, earthworks, a sand bed, a pool, and a woven rope "cloud" that creates a patterned sky.
[41]
Pedro & Juana's junglescape installation for MoMA PS1 opens
Aug 8, 2022 · The immersive 'junglescape' within a 40ft high cyclorama structure will be the site of Moma's Summer Music series, at MoMA PS1 in Long Island City.
[42]
Artist Interventions - MoMA PS1
... Alanna Heiss in 1997. Created for the northwest stairwell, Stair ... Originally part of the exhibition Rooms in 1976, Lawrence Weiner wrote the ...<|separator|>
[43]
MoMA PS1 Renovation - Frederick Fisher and Partners
We designed MoMA PS1 as a canvas, not a monument. It adapts to the art it holds, bending and shifting to accommodate intimate installations or groundbreaking ...Missing: permanent features
[44]
Staff & Board - MoMA PS1
Director's Office Connie Butler, The Agnes Gund Director Annie Moretto, Executive Assistant and Special Projects Coordinator AdministrationMissing: structure | Show results with:structure
[45]
The Museum of Modern Art history - MoMA
In January 2000, the Museum and P.S.1 Contemporary Art Center (now MoMA PS1) exercised a Memorandum of Understanding formalizing their affiliation.Missing: governance | Show results with:governance
[46]
[PDF] MoMA PS1 ANNOUNCES NEW BOARD LEADERSHIP AND $5M ...
Simon Mordant AO joins Philip Aarons as Co-Vice Chair. In addition, PS1 has established a $5 million Strategic Transition Fund to support the ...Missing: structure | Show results with:structure
[47]
Is Sarah Arison Her Generation's Agnes Gund?
Aug 14, 2024 · Sarah Arison is the new president of the board of trustees at the Museum of Modern Art, and she's not yet 40. Is she her generation's Agnes ...Missing: current | Show results with:current
[48]
[PDF] CONNIE BUTLER APPOINTED DIRECTOR OF MoMA PS1
May 8, 2023 · Art and Black Los Angeles 1960–1980 (2012), and Mike Kelley (2013). Ms. Butler will assume her new role at MoMA PS1 on September 26, 2023. ...
[49]
Connie Butler Appointed Director of MoMA PS1
Sarah Arison, Chair of the Board of MoMA PS1, and Glenn D. Lowry, The David Rockefeller Director of The Museum of Modern Art, today announced that leading ...
[50]
Ps1 Contemporary Art Center Inc - Nonprofit Explorer - ProPublica
Form 990 is an information return that most organizations claiming federal tax-exempt status must file yearly with the IRS.Ps1 Contemporary Art Center Inc
[51]
MoMA PS1 Receives $1 Million Gift from the Teiger Foundation to ...
Teiger Foundation announces a $1 million gift to MoMA PS1 for the creation of the Teiger Foundation Exhibition Fund, which directly supports the MoMA PS1 ...Missing: Contemporary Center
[52]
MoMA PS1 gets $5.1 million in city funding for desperately needed ...
Oct 1, 2021 · With the latest funding to PS1, the city has now allocated nearly $2 billion to the arts communities across the five boroughs, a record amount, ...<|control11|><|separator|>
[53]
Support Funds - MoMA PS1
Artist-centered and community-driven, MoMA PS1 embraces boundary-breaking ideas and experimental practices ... site-specific commissions and New York and US ...
[54]
Artist Phil Collins Pulls His Work From a MoMA PS1 Show in Protest ...
Oct 30, 2019 · Turner prize nominee Phil Collins is withdrawing his work from a show at MoMA PS1 over trustee Larry Fink's ties to for-profit prisons.
[55]
Artist Pulls Out of MoMA PS1 Show Amid Protests Over Trustee
Oct 30, 2019 · They allege that MoMA relies on Fidelity Investments, a company with stakes in the private prison companies GEO Group and Core Civic, to manage ...Missing: donor | Show results with:donor
[56]
Three Dozen Artists Showing at MoMA PS1 Sign a Letter Urging the ...
Jan 14, 2020 · Roughly half of the artists in MoMA PS1 'Theater of War' show penned an open letter asking leaders to cut ties with certain trustees.Missing: donor | Show results with:donor
[57]
Artist Michael Rakowitz Protests MoMA Trustees by Altering Work at ...
Jan 13, 2020 · In a protest against two MoMA board members, Michael Rakowitz paused his own video in PS1's 'Theater of Operations' show.
[58]
#MoMADivest Activists Stage Protest at MoMA PS1 on Behalf of ...
Mar 2, 2020 · Dozens of activists filled the lobby of MoMA PS1 in Long Island City, New York, on Sunday afternoon to protest the museum's affiliation with Leon Black.
[59]
Protesters Occupy MoMA PS1, Calling Museum “Complicit in Global ...
Mar 2, 2020 · Dozens of activists from the MoMA Divest movement who staged an action inside the museum to protest alleged ties of MoMA board members to defense contractors.
[60]
Behind the Scenes of MoMA PS1 Exhibition, Artists ... - Hyperallergic
Mar 18, 2021 · Artists included in the Gulf Wars exhibition say they were disregarded and demeaned after speaking up against MoMA Chairman Leon Black.<|separator|>
[61]
Amid Mounting Controversy, Leon Black Will Step Down as MoMA ...
Mar 26, 2021 · Amid Mounting Controversy, Leon Black Will Step Down as MoMA Chairman. After hundreds of artists called for his removal, the financier will not ...<|separator|>
[62]
Participating artists protest MoMA PS1's relationship with toxic ...
Jan 17, 2020 · Thirty-seven of the artists participating in the current MoMA PS1 group show Theater of Operations: The Gulf Wars 1991-2011 have collaborated on an open letter.
[63]
Art Handlers at MoMA PS1 Demand Same Pay as Manhattan ...
Dec 6, 2018 · The handlers in Manhattan, full-time members of the museum staff with benefits, were paid as much as $47 an hour. The top rate in Queens was $30 an hour.
[64]
MoMA PS1 Art Handlers and Maintenance Workers to Stage Action ...
Nov 16, 2018 · The union has held five meetings with PS1 management, according to Haag, but said the situation has become “toxic.” Local 30's lead negotiator, ...
[65]
Unionized MoMA PS1 Workers Rally for Better Pay, Health Care
Feb 27, 2024 · Longtime staffer Jose Paz told Hyperallergic that some maintenance workers were earning just $19.50 per hour, above New York's $16 minimum wage ...Missing: labor | Show results with:labor
[66]
Unionized Art Installers and Maintenance Crew Protest Low Wages ...
Nov 19, 2018 · PS1 workers are paid between $20-$30 per hour, while those at sister institution MoMA are paid up to $47. The negotiations have been ongoing ...Missing: labor issues
[67]
Curator Says MoMA PS1 Wanted Her, Until She Had a Baby
Jul 6, 2018 · The museum denies any bias, but the curator has brought her discrimination complaint to the New York City Commission on Human Rights.
[68]
A Petition Calling on MoMA PS1 to Change Its 'Discriminatory ...
Jul 16, 2018 · A new petition accuses MoMA PS1 of discriminating against working mothers after the museum revoked a job offer to Nikki Columbus.
[69]
MoMA PS1 Settles With Curator Who Said Giving Birth Cost Her Job ...
Mar 26, 2019 · A curator who accused MoMA PS 1 of gender, pregnancy and caregiver discrimination has settled the claim she brought against the museum saying it had rescinded ...
[70]
MoMA PS1 Settles Discrimination Lawsuit with Curator Nikki ...
Mar 26, 2019 · MoMA PS1 in Long Island City has reached a settlement with curator Nikki Columbus, who accused the museum of discrimination after it allegedly rescinded a job ...
[71]
'Zero Tolerance' at MoMA P.S. 1 - The New York Times
Feb 5, 2015 · This show examines a range of protest art, from Pussy Riot to a video in which neo-Nazis harass gay-pride demonstrators in Serbia and ...<|control11|><|separator|>
[72]
“WACK! Art and the Feminist Revolution” - Criticism - e-flux
Feb 8, 2021 · This pioneering institutional survey of feminist art brought together work made by more than 120 female artists and collectives between 1965 and 1980.
[73]
https://www.wsj.com/opinion/when-connoisseurs-yield-to-commissars-art-history-museums-woke-politics-ideology-mission-painting-renaissance-activists-11662139109
[74]
'Greater New York,' a Show of the Moment, Dwells in the Radical Past
Oct 8, 2021 · The show features the work of 47 artists and collectives and bridges documentary photography, surrealism, painting and video.
[75]
How the Arts Shifted Leftward - Inside Higher Ed
Jun 9, 2022 · Today, the liberal left dominates the arts and other cultural institutions: publishing, journalism, media and, of course, the academy. But it wasn't always so.
[76]
MoMA PS1 New York - Ocula
MoMA PS1 is a pioneering nonprofit contemporary art institution and exhibition space located in Long Island City, Queens, New York.
[77]
[PDF] MoMA PS1 ANNOUNCES 47 ARTISTS AND COLLECTIVES ...
Jul 29, 2021 · Ruba Katrib is Curator at MoMA PS1. At PS1 she has curated exhibitions such as Niki de. Saint Phalle: Structures for Life (2021), Theater of ...
[78]
https://momaps1.org/en/programs/2-greater-new-york
[79]
https://momaps1.org/en/programs/85-artist-interventions
[80]
MoMA PS1 - Teiger Foundation
Dec 10, 2024 · “Throughout its history, MoMA PS1 has been an incubator for curators working on all platforms, offering an integrated curatorial approach that ...
[81]
[Update] The Untold Story of How PS1's Warm Up Became New ...
Sep 6, 2014 · This ramshackle crowd is converged for one reason: Warm Up. An outdoor party par excellence, its legacy is predicated on the invariable strength ...
[82]
Out Late: Inside the reinvention of MoMA PS1's Warm Up - Time Out
Jul 23, 2024 · At its core, Warm Up is about maintaining some essence of New York culture that some might claim has been lost forever. It's a space to party, ...Missing: impact | Show results with:impact
[83]
History of Long Island City, New York | Brandon J Broderick
Institutions like MoMA PS1 and the Noguchi Museum contribute to its cultural prominence, while new businesses and tech companies have established offices in LIC ...
[84]
Art versus gentrification in Queens, New York: Malikah exhibition
Aug 8, 2023 · Art versus gentrification in Queens, New York: Malikah exhibition at MoMA PS1 · With rents rising 34% in a year, Malikah works to preserve Little ...<|separator|>
[85]
Year in Review 2022–23 - MoMA
This year we welcomed nearly 2.7 million visitors to our galleries for more than 17 exhibitions, along with film series and performances.
[86]
8 Artists to Discover at MoMA PS1's Greater New York 2021 | Artsy
Oct 6, 2021 · Below, we highlight eight standout artists from the show. Their works serve as poignant reminders of New York truly great.
[87]
8 Standouts at MoMA PS1's 2021 Greater New York Show - Art News
Oct 6, 2021 · Ahmed Morsi · G. Peter Jemison · Stanley Wolukau-Wanambwa · Andy Robert · Hiram Maristany · Emilie Louise Gossiaux · Paulina Peavy · Julio Galán.
[88]
[PDF] THE MUSEUM OF MODERN ART ANNUAL REPORT FOR ... - MoMA
Oct 7, 2015 · This includes use of model based valuations techniques for which all significant assumptions are observable in the market or can be corroborated ...
[89]
Rating for MoMA PS1 - Charity Navigator
MoMA PS1 has earned a 4/4 Star rating on Charity Navigator ... We review the charity's most recent IRS Form 990 to see if the charity has reported any diversion ...
[90]
MOMA PS1′s “Greater New York” Confirms Rather Than Surprises
Oct 18, 2021 · Peter Schjeldahl reviews MOMA PS1′s survey show of New York artists, which could use a watchword along the lines of “sideways-garde.”
[91]
MoMA PS1's Multi-Generational “Greater New York” Is as Flawed as ...
Oct 11, 2015 · A quinquennial survey of artwork made in New York that has generated more than its fair share of controversy during past editions.
[92]
MoMA PS1's Citywide Survey Shows New York's Greats (and Not-so ...
Oct 9, 2015 · Every five years MoMA and MoMA PS1 team up to take the pulse of New York City's contemporary art scene, filling the latter institution with ...
[93]
After a lacklustre four years, MoMA PS1 in New York gets its groove ...
Aug 19, 2022 · After a lacklustre four years, MoMA PS1 in New York gets its groove back with trio of eye-opening shows. MoMA PS1 in Queens, New York.Missing: criticisms | Show results with:criticisms
[94]
MoMA PS1 Tickets - Free Entry w/ New York Pass®
The MoMA PS1 attracts around 200,000 visitors each year that come to view their unique and historical displays.Missing: attendance numbers