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EXHIBITIONS BY YEAR

Frank O'Hara/In Memory of My Feelings

4 December 1967 to 10 September 1968

View on MoMA


MoMA Staff

Director
Director
Riva Castleman  American, 1930–2014

Artists

Roy Lichtenstein
American, 1923–1997
57 exhibitions
Jasper Johns
American, born 1930
99 exhibitions
Allan D'Arcangelo
American, 1930–1998
12 exhibitions
Robert Rauschenberg
American, 1925–2008
87 exhibitions
Norman Bluhm
American, 1920–1999
3 exhibitions
Jane Wilson
American, born 1924
3 exhibitions
Niki de Saint Phalle
French, 1930–2002
5 exhibitions
Larry Rivers
American, 1923–2002
46 exhibitions
Claes Oldenburg
69 exhibitions
Frank O'Hara
American, 1926–1966
5 exhibitions
Barnett Newman
American, 1905–1970
24 exhibitions
Reuben Nakian
American, 1897–1986
31 exhibitions
Robert Motherwell
American, 1915–1991
71 exhibitions
Joan Mitchell
American, 1925–1992
7 exhibitions
Marisol (Marisol Escobar)
Venezuelan, born France 1930
21 exhibitions
Alfred Leslie
American, born 1927
7 exhibitions
Lee Krasner
American, 1908–1984
8 exhibitions
Alex Katz
American, born 1927
26 exhibitions
Matsumi Kanemitsu
American, 1922–1992
6 exhibitions
Al Held
American, 1928–2005
15 exhibitions
Grace Hartigan
American, 1922–2008
12 exhibitions
Philip Guston
American, born Canada. 1913–1980
21 exhibitions
Michael Goldberg
American, born 1924
5 exhibitions
Jane Freilicher
American, born 1924
4 exhibitions
Helen Frankenthaler
American, 1928–2011
36 exhibitions
Willem de Kooning
American, born the Netherlands. 1904–1997
43 exhibitions
Elaine de Kooning
American, 1920–1989
4 exhibitions
Giorgio Cavallon
American, 1904–1989
3 exhibitions
John Button
American, 1930–1982
3 exhibitions
Joe Brainard
American, 1942–1994
2 exhibitions
Nell Blaine
American, born 1922
2 exhibitions

New York Times Review of the exhibition

PUBLISHED

11 August 1968

Poets and Painters as Painters and Poets; Poets and Painters

By Peter SCHJELDAHL

COLLABORATION between painters and poets is one of those unprecedented phenomena that make "modern art" such a catchall category. An exotic hybrid of the two loneliest and traditionally "highest" arts, it could scarcely have flourished outside the hothouse of the modern avant garde -- the communities of innovating artists, uncertain or suspicious of their audience, grouped in the more cosmopolitan cities.

New York Times • page D17 • 1,291 words