{"id":20026,"date":"2026-03-06T19:15:51","date_gmt":"2026-03-06T18:15:51","guid":{"rendered":"https:\/\/instytutpolski.pl\/newyork\/?p=20026"},"modified":"2026-04-01T01:21:20","modified_gmt":"2026-03-31T23:21:20","slug":"new-humans-memories-of-the-future-at-the-new-museum-2","status":"publish","type":"post","link":"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/06\/new-humans-memories-of-the-future-at-the-new-museum-2\/","title":{"rendered":"„New Humans: Memories of the Future” at the New Museum"},"content":{"rendered":"\n

Exhibition to span entire New Museum and feature the work of more than two hundred international artists, writers, scientists, architects, and filmmakers, including three Polish artists Aneta Grzeszykowska, Goshka Macuga and Alina Szapocznikow, among others. <\/strong><\/h2>\n\n\n\n
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Opening Saturday, March 21<\/strong> \u2014 Ongoing <\/strong>
New Museum<\/a><\/strong>
235 Bowery, New York, NY 1000
Tickets<\/a><\/strong>
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The New Museum announced the complete artist list for New Humans: Memories of the Future<\/em>, the first exhibition to span the entirety of the expanded New Museum, opening on March 21, 2026. Across the New Museum\u2019s SANAA-designed building and OMA-designed expansion, New Humans<\/em> will trace a diagonal history of the past one hundred years through the work of more than two hundred international artists, writers, scientists, architects, and filmmakers. The exhibition highlights key moments when dramatic technological and societal changes spurred new conceptions of humanity and new visions for its possible futures. Continuing the New Museum\u2019s long history of presenting provocative and timely group exhibitions, New Humans: Memories of the Future<\/em> will explore artists\u2019 enduring preoccupation with what it means to be human in the face of sweeping technological changes.<\/p>\n\n\n\n

Spanning over a century and featuring artists from more than fifty countries, the exhibition highlights rarely seen works while also premiering more than fifteen new commissions by some of today\u2019s most exciting contemporary artists, including Ryan Gander, Camille Henrot, Jamian Juliano-Villani, Wangechi Mutu, Hito Steyerl, Alice Wang, and Santiago Yahuarcani, among many others. Canonical figures of twentieth-century art, like Constantin Br\u00e2ncu\u0219i, Andr\u00e9 Breton, Salvador Dal\u00ed, Man Ray, and August Sander, are brought into dialogue with overlooked and eccentric visionaries such as Bruce Lacey, Rammellzee, Toyen, and Unica Z\u00fcrn. The wide range of works captures individualized responses to moments of sweeping global change, offering proposals that resonate with contemporary moment while also documenting dreams of futures that never arrived.<\/p>\n\n\n\n

Key works by three Polish artists Aneta Grzeszykowska<\/strong>, Goshka Macuga<\/strong> and Alina Szapocznikow<\/strong>, are essential to the presentation of New Humans<\/em>. Grzeszykowska (b. 1974) will be represented by her photographic series Mama <\/em>(2018), in which she uses a lifelike silicone model of her own body to explore family relationship, self-representation, and blurred lines between the real and the artificial. Macuga (b.1967) will be represented by her robot-assisted drawing projects Before the Beginning and After the End <\/em>(2016) and Transhumanism<\/em> (2017), which bring together archival images, cultural references, and machine-made drawings to examine how human knowledge is created, stored, and reshaped by new technologies. In dialogue with these works, Kaprys – Monstre<\/em> (1967) by Alina Szapoznikow (b.1926) will be presented, whose sculptural practice uses cast body fragments made of resin and other industrial materials to confront vulnerability, memory, and the lasting impact of trauma on the human form. Collectively, the works of these Polish artists examine how the human body is reimagined through personal experience, technology, and cultural memory.<\/p>\n\n\n\n

As with earlier thematic exhibitions at the New Museum, New Humans<\/em> finds the roots of the contemporary in the layers of the past. The exhibition highlights recurring collective fears of and aspirations for new technologies as they emerge with the potential to shape\u2014or even dominate\u2014human life. Rejecting the idea of linear progress in both humanity and technology, the show stages their relationship as a series of leaps, returns, and reversals, placing artists and objects in critical dialogue across time. Most notably, the exhibition establishes a symmetry between the 1920s and the present, when the term \u201crobot\u201d first appeared, automated factory labor rose, mechanized warfare emerged, and new media proliferated. These phenomena echo today\u2019s disruptive diffusion of AI, contemporary warfare, and the complex networks of misinformation that shape communication in the digital age.<\/p>\n\n\n\n

Highlighting these transhistorical correspondences, the exhibition connects medical devices invented for soldiers returning from World War I to contemporary imaginings of a transhumanist future. The image of the \u201cNew Man\u201d and the \u201cNew Woman\u201d in early twentieth-century avant-garde work presages cyborgs and bioengineered bodies imagined by today\u2019s artists and technologists. Broken and reassembled bodies in the work of Hans Bellmer and Hannah H\u00f6ch, for example, anticipate transhuman forms explored by Berenice Olmedo, Cao Fei, and Janiva Ellis. Similarly, the flood of AI-generated images and videos in our digital landscape finds its precedent in machine-aided computer drawings and programmed art of the 1960s by pioneering women such as Anal\u00edvia Cordeiro, Vera Moln\u00e1r, and Lillian Schwartz.<\/p>\n\n\n\n

New Humans<\/em> considers how scientific advances have transformed representations of the human body, offering portraits of life from the embryonic stage to post-human possibilities. Diagrams, models, and documentation of scientific discoveries\u2014including Lennart Nilsson\u2019s photographs of embryos, Santiago Ram\u00f3n y Cajal\u2019s brain diagrams, Franz Tschakert\u2019s Glass Man, and Wilder Graves Penfield\u2019s sensory homunculus\u2014provide both anatomical insight and artistic inspiration. Artists like Yuri Ancarani, Lucy Beech, and Angela Su use surgical technology, bioengineering, and medical illustration to create surreal works. Figures range from sleek automatons to human-animal hybrids, while mechanical life forms by Lee Bul, Lynn Hershman Leeson, Pamela Rosenkranz, and Andro Wekua appear alongside iconic pop-culture beings like Carlo Rambaldi\u2019s E.T. and H.R. Giger\u2019s Necronom from Alien<\/em>. The exhibition shows how machines have profoundly reshaped our understanding of labor, gender, intelligence, collectivity, and creativity.<\/p>\n\n\n\n

The show traces pivotal historical moments such as the myth of the \u201cNew Man\u201d and the emergence of the \u201cNew Woman\u201d in Bauhaus and avant-garde contexts, with works by El Lissitzky, Francis Picabia, Marianne Brandt, Karla Grosch, and Florence Henri. Futurists, Dadaists, and Surrealists imagined mechanical offspring\u2014children born without mothers\u2014that reflected both technological wonder and the looming specter of fascism. From Elsa von Freytag-Loringhoven\u2019s industrial readymade God<\/em>, created with Morton Livingston Schamberg, to Dal\u00ed\u2019s Geopoliticus Child Watching the Birth of the New Man<\/em>, these works inaugurated a new world in which technological and political upheavals demanded the creation of new human forms.<\/p>\n\n\n\n

In the post\u2013World War II era, more monstrous forms of figuration emerged in response to the Holocaust and the atomic bomb, uniting artists such as Francis Bacon, Jacqueline de Jong, Alberto Giacometti, Eva Hesse, Alina Szapocznikow, and Tatsuo Ikeda. International figures including F.N. Souza, Demas Nwoko, and Uche Okeke imagined postcolonial bodies that expanded upon European modernism, creating new humans for new nations. These works highlight the tension between idealized, engineered humans and bodies shaped by technological violence, alongside those that fall outside techno-utopian visions, embracing aberration and nonhuman relationships as a liberatory potential. Contemporary artists such as Julien Creuzet, Jaider Esbell, Jana Euler, Christopher Kulendran Thomas, Tau Lewis, and Portia Zvavahera continue to explore speculative universes where definitions of the human are constantly renegotiated with the natural and animal world.<\/p>\n\n\n\n

The exhibition also envisions spaces\u2014both natural and architectural\u2014where new forms of life may thrive. Imaginary cities by Sophia Al-Maria, Bodys Isek Kingelez, Gyula Kosice, Constant Nieuwenhuys, Hariton Pushwagner, and Albert Robida serve as habitats for chimeric beings, including Anicka Yi\u2019s hovering aerobes displayed in the fourth-floor galleries of the OMA-designed building. These works visualize potential futures and reflect collective advances and upheavals in society, presenting myriad possibilities for the humans we may become.<\/p>\n\n\n\n

New Humans: Memories of the Future<\/em> is curated by Massimiliano Gioni, Edlis Neeson Artistic Director; Gary Carrion-Murayari, Kraus Family Senior Curator; Vivian Crockett, Allen and Lola Goldring Curator; and Madeline Weisburg, Senior Assistant Curator; with Calvin Wang, Curatorial Assistant. <\/p>\n\n\n\n

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ABOUT THE ARTISTS<\/strong><\/p>\n\n\n\n

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Aneta Grzeszykowska by Marek Krzy\u017canek<\/figcaption><\/figure><\/div>\n\n\n
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Aneta Grzeszykowska (b. 1974, Warsaw, Poland)<\/strong> is known for performance, photography, sculpture, and video exploring the fragmented body and the blurred boundaries between human and nonhuman, synthetic and organic; in her photographic series Mama<\/em> (2018), she portrays her body as a lifelike silicone double interacted with by her daughter, challenging traditional maternal roles and self-representation. <\/p>\n\n\n\n

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Goshka Macuga by Marek Krzy\u017canek <\/figcaption><\/figure><\/div>\n\n\n
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Goshka Macuga (b. 1967, Warsaw, Poland)<\/strong> creates large-scale installations combining artifacts, archival materials, robotic drawings, and tapestries to examine human knowledge and cultural memory, including Before the Beginning and After the End<\/em> (2016) and Transhumanism<\/em> (2017), where a robot executes crude line drawings inspired by Harold Cohen\u2019s AARON program. <\/p>\n\n\n\n

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Alina Szapocznikow (b. 1926, Kalisz, Poland; d. 1973, Passy, France)<\/strong>, a Holocaust survivor, is celebrated for sculptures that confront the vulnerability and ephemerality of the human body, including Kaprys – Monstre<\/em> (1967), which uses casts of body parts, resin, and lighting to create a fragile, grotesque, and ambiguous figure reflecting both the horrors and transcendence of embodied experience.<\/p>\n\n\n\n

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Aneta Grzeszykowska, Mama<\/em>, 2018. Color pigment ink on cotton paper. Courtesy the artist and Lyles & King, New York. Aneta Grzeszykowska, Mama<\/em>, 2018. Color pigment ink on cotton paper. Courtesy the artist and Lyles & King, New York. Aneta Grzeszykowska, Mama<\/em>, 2018. Color pigment ink on cotton paper. Courtesy the artist and Lyles & King, New York. Goshka Macuga, Before the Beginning and After the End: Transhumanism<\/em>, 2016. With Patrick Tresset. Ballpoint drawings by \u201cPaul-n system\u201d on a paper scroll. Courtesy the artist and Andrew Kreps, New York. Alina Szapocznikow, Kaprys \u2013 Monstre (Caprice \u2013 Monster)<\/em>, 1967. Polyurethane foam, colored polyester resin, lightbulb, electrical wiring, metal, cotton, and fiberglass. Courtesy the Estate of Alina Szapocznikow, Galerie Loevenbruck, Paris, and Hauser & Wirth.<\/p>\n\n\n\n

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ARTIST LIST<\/strong><\/p>\n\n\n\n

A.C.M. (b. Alfred Corinne Mari\u00e9, 1951, Hargicourt, France; d. 2023, Hargicourt, France)
Rebecca Allen (b. 1953, Marshall, MI)
Sophia Al-Maria (b. 1983, Tacoma, WA)
Monira Al Qadiri (b. 1983, Dakar, Senegal)
Yuri Ancarani (b. 1972, Ravenna, Italy)
Karel Appel (b. 1921, Amsterdam, Netherlands; d. 2006, Zurich, Switzerland)
Ay\u00e9 A. Aton (b. Robert Underwood, 1940, Versailles, KY; d. 2017, Lexington, KY)
Francis Bacon (b. 1909, Dublin, Ireland; d. 1992, Madrid, Spain)
Nanni Balestrini (b. 1935, Milan, Italy; d. 2019, Rome, Italy)
Ivana Ba\u0161i\u0107 (b. 1986, Belgrade, Yugoslavia [present-day Serbia])
Thomas Bayrle (b. 1937, Berlin, Germany)
Lucy Beech (b. 1985, Hull, UK)
Hans Bellmer (b. 1902, Kattowitz, German Empire [present-day Katowice, Poland]; d. 1975, Paris, France)
Benedetta (b. Benedetta Cappa, 1897, Rome, Italy; d. 1977, Venice, Italy)
Meriem Bennani (b. 1988, Rabat, Morocco)<\/p>\n\n\n\n

Emery Blagdon (b. 1907, Callaway, NE; d. 1986, Callaway, NE)
Erwin Blumenfeld (b. 1897, Berlin, Germany; d. 1969, Rome, Italy)
Alexander \u201cSkunder\u201d Boghossian (b. 1937, Addis Ababa, Ethiopia; d. 2003, Washington, DC)
F.W. Bogler (b. 1902, Hofgeismar, Germany; d. 1945, Zell am See, Austria)
Kurt Schmidt (b. 1901, Limbach\/Sachsen, Germany; d. 1991, Gera, Germany)
Georg Teltscher (b. 1904, Purkersdorf, Austro-Hungarian Empire [present-day Austria]; d. 1983, London, UK)
Martha Boto (b. 1925, Buenos Aires, Argentina; d. 2004, Paris, France)
Constantin Br\u00e2ncu\u0219i (b. 1876, Hobi\u0163a, Romania; d. 1957, Paris, France)
Marianne Brandt (b. 1893, Chemnitz, Germany; d. 1983, Kirchberg, Germany)
K.P. Brehmer (b. 1938, Berlin, Germany; d. 1997, Hamburg, Germany)
Andr\u00e9 Breton (b. 1896, Tinchebray, France; d. 1966, Paris, France)
Teresa Burga (b. 1935, Iquitos, Peru; d. 2021, Lima, Peru)
Miriam Cahn (b. 1949, Basel, Switzerland)
Cao Fei (b. 1978, Guangzhou, China)
Enrique Castro-Cid (b. 1937, Santiago, Chile; d. 1992, Santiago, Chile)
Giannina Censi (b. 1913, Milan, Italy; d. 1995, Voghera, Italy)
Barbara Chase-Riboud (b. 1939, Philadelphia, PA)
Iakov Chernikhov (b. 1889, Pavlohrad, Russian Empire [present-day Ukraine]; d. 1951, Moscow, USSR)
Thomas Chimes (b. 1921, Philadelphia, PA; d. 2009, Philadelphia, PA)
Anna Coleman Ladd (b. 1878, Philadelphia, PA; d. 1939, Santa Barbara, CA)
Constant (b. Constant Nieuwenhuys, 1920, Amsterdam, The Netherlands; d. 2005, Utrecht, The Netherlands)
Anal\u00edvia Cordeiro (b. 1954, S\u00e3o Paulo, Brazil)
Magda Cordell McHale (b. Magda Lustigova, 1921, Nov\u00e9 Z\u00e1mky, Hungary [present-day Slovakia]; d. 2008, Sloan, NY)
Henrique Alvim Corr\u00eaa (b. 1876, Rio de Janeiro, Brazil; d. 1910, Brussels, Belgium)
Beatriz Cortez (b. 1970, San Salvador, El Salvador)
Julien Creuzet (b. 1986, Paris, France)
Vit\u00f3ria Cribb (b. 1996, Rio de Janeiro, Brazil)
Cui Jie (b. 1983, Shanghai, China)
Salvador Dal\u00ed (b. 1904, Figueres, Spain; d. 1989, Figueres, Spain)
Lenora de Barros (b. 1953, S\u00e3o Paulo, Brazil)
Jacqueline de Jong (b. 1939, Hengelo, The Netherlands; d. 2024, Amsterdam, The Netherlands)
Jorge de la Vega (b. 1930, Buenos Aires, Argentina; d. 1971, Buenos Aires, Argentina)
Jeremy Deller (b. 1966, London, UK)
Agnes Denes (b. 1931, Budapest, Hungary)
Simon Denny (b. 1982, Auckland, New Zealand)
Sara Deraedt (b. 1984, Asse, Belgium)
Valentine de Saint-Point (b. 1875, Lyon, France; d. 1953, Cairo, Egypt)
Stephanie Dinkins (b. 1964, Perth Amboy, NJ)
Patricia Dom\u00ednguez (b. 1984, Santiago, Chile)<\/p>\n\n\n\n

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ABOUT THE NEW MUSEUM<\/strong><\/p>\n\n\n\n

The New Museum is the only museum in New York City exclusively devoted to contemporary art. Founded in 1977, it serves as a center for exhibitions, information, and documentation about living artists from around the world.<\/p>\n\n\n\n

From its beginnings as a one-room office on Hudson Street to the inauguration of its first freestanding building on the Bowery, designed by SANAA in 2007, the New Museum continues to be a place of experimentation and a hub of new art and new ideas.<\/p>\n\n\n\n

PUBLICATION<\/strong><\/p>\n\n\n\n

New Humans: Memories of the Future<\/em> is accompanied by a fully illustrated catalog copublished by Phaidon and the New Museum, edited by Massimiliano Gioni, Gary Carrion-Murayari, and Madeline Weisburg, with Calvin Wang.<\/p>\n\n\n\n

The catalog features essays by Aaron Betsky, Gary Carrion-Murayari, Erin Christovale, Meghan Forbes, Hal Foster, Massimiliano Gioni, Sophie Lewis, Eric Michaud, Katy Siegel, McKenzie Wark, and Gary Zhexi Zhang, as well as monographic texts on all the featured artists.<\/p>\n\n\n\n

PUBLIC PROGRAMS<\/strong><\/p>\n\n\n\n

New Humans<\/em> public programs will include conversations and workshops with exhibiting artists, including Cannupa Hanska Luger, Steffani Jemison, Precious Okoyomon, Berenice Olmedo, WangShui, Hito Steyerl, and Anicka Yi, alongside other artists and thinkers, including Kate Crawford, Lou Cornum, Leslie Cuyjet, David Gissen, Trevor Paglen, and Ariel Yelen.<\/p>\n\n\n\n

The program series will culminate with a performance by Sun Ra Arkestra. Details about these programs and other special events celebrating the New Museum\u2019s reopening will be announced in the coming weeks.<\/p>\n\n\n\n

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The lead sponsor for New Humans: Memories of the Future is supported by leadership from the Daniel Xu & Flora Huang Foundation, major support from Lonti Ebers, the Amant Foundation Major Exhibitions Fund, and The Andy Warhol Foundation for the Visual Arts, with artist commissions generously provided by the Neeson \/ Edlis Artist Commissions Fund; we gratefully acknowledge the Artistic Director\u2019s Circle, International Leadership Council, Artemis Council of the New Museum, and Friends of New Humans, with Hartwig Art Foundation as presenting partner.<\/em><\/p>\n\n\n\n

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Across the New Museum\u2019s SANAA-designed building and OMA-designed expansion, New Humans will trace a diagonal history of the past one hundred years through the work of more than two hundred international artists, writers, scientists, architects, and filmmakers. The exhibition highlights key moments when dramatic technological and societal changes spurred new conceptions of humanity and new visions for its possible futures. Continuing the New Museum\u2019s long history of presenting provocative and timely group exhibitions, New Humans: Memories of the Future will explore artists\u2019 enduring preoccupation with what it means to be human in the face of sweeping technological changes.\\nSpanning over a century and featuring artists from more than fifty countries, the exhibition highlights rarely seen works while also premiering more than fifteen new commissions by some of today\u2019s most exciting contemporary artists, including Ryan Gander, Camille Henrot, Jamian Juliano-Villani, Wangechi Mutu, Hito Steyerl, Alice Wang, and Santiago Yahuarcani, among many others. Canonical figures of twentieth-century art, like Constantin Br\u00e2ncu\u0219i, Andr\u00e9 Breton, Salvador Dal\u00ed, Man Ray, and August Sander, are brought into dialogue with overlooked and eccentric visionaries such as Bruce Lacey, Rammellzee, Toyen, and Unica Z\u00fcrn. The wide range of works captures individualized responses to moments of sweeping global change, offering proposals that resonate with contemporary moment while also documenting dreams of futures that never arrived.\\nKey works by three Polish artists Aneta Grzeszykowska, Goshka Macuga and Alina Szapocznikow, are essential to the presentation of New Humans. Grzeszykowska (b. 1974) will be represented by her photographic series Mama (2018), in which she uses a lifelike silicone model of her own body to explore family relationship, self-representation, and blurred lines between the real and the artificial. Macuga (b.1967) will be represented by her robot-assisted drawing projects Before the Beginning and After the End (2016) and Transhumanism (2017), which bring together archival images, cultural references, and machine-made drawings to examine how human knowledge is created, stored, and reshaped by new technologies. In dialogue with these works, Kaprys - Monstre (1967) by Alina Szapoznikow (b.1926) will be presented, whose sculptural practice uses cast body fragments made of resin and other industrial materials to confront vulnerability, memory, and the lasting impact of trauma on the human form. Collectively, the works of these Polish artists examine how the human body is reimagined through personal experience, technology, and cultural memory.\\nAs with earlier thematic exhibitions at the New Museum, New Humans finds the roots of the contemporary in the layers of the past. The exhibition highlights recurring collective fears of and aspirations for new technologies as they emerge with the potential to shape\u2014or even dominate\u2014human life. Rejecting the idea of linear progress in both humanity and technology, the show stages their relationship as a series of leaps, returns, and reversals, placing artists and objects in critical dialogue across time. Most notably, the exhibition establishes a symmetry between the 1920s and the present, when the term \u201crobot\u201d first appeared, automated factory labor rose, mechanized warfare emerged, and new media proliferated. These phenomena echo today\u2019s disruptive diffusion of AI, contemporary warfare, and the complex networks of misinformation that shape communication in the digital age.\\nHighlighting these transhistorical correspondences, the exhibition connects medical devices invented for soldiers returning from World War I to contemporary imaginings of a transhumanist future. The image of the \u201cNew Man\u201d and the \u201cNew Woman\u201d in early twentieth-century avant-garde work presages cyborgs and bioengineered bodies imagined by today\u2019s artists and technologists. Broken and reassembled bodies in the work of Hans Bellmer and Hannah H\u00f6ch, for example, anticipate transhuman forms explored by Berenice Olmedo, Cao Fei, and Janiva Ellis. Similarly, the flood of AI-generated images and videos in our digital landscape finds its precedent in machine-aided computer drawings and programmed art of the 1960s by pioneering women such as Anal\u00edvia Cordeiro, Vera Moln\u00e1r, and Lillian Schwartz.\\nNew Humans considers how scientific advances have transformed representations of the human body, offering portraits of life from the embryonic stage to post-human possibilities. Diagrams, models, and documentation of scientific discoveries\u2014including Lennart Nilsson\u2019s photographs of embryos, Santiago Ram\u00f3n y Cajal\u2019s brain diagrams, Franz Tschakert\u2019s Glass Man, and Wilder Graves Penfield\u2019s sensory homunculus\u2014provide both anatomical insight and artistic inspiration. Artists like Yuri Ancarani, Lucy Beech, and Angela Su use surgical technology, bioengineering, and medical illustration to create surreal works. Figures range from sleek automatons to human-animal hybrids, while mechanical life forms by Lee Bul, Lynn Hershman Leeson, Pamela Rosenkranz, and Andro Wekua appear alongside iconic pop-culture beings like Carlo Rambaldi\u2019s E.T. and H.R. Giger\u2019s Necronom from Alien. The exhibition shows how machines have profoundly reshaped our understanding of labor, gender, intelligence, collectivity, and creativity.\\nThe show traces pivotal historical moments such as the myth of the \u201cNew Man\u201d and the emergence of the \u201cNew Woman\u201d in Bauhaus and avant-garde contexts, with works by El Lissitzky, Francis Picabia, Marianne Brandt, Karla Grosch, and Florence Henri. Futurists, Dadaists, and Surrealists imagined mechanical offspring\u2014children born without mothers\u2014that reflected both technological wonder and the looming specter of fascism. From Elsa von Freytag-Loringhoven\u2019s industrial readymade God, created with Morton Livingston Schamberg, to Dal\u00ed\u2019s Geopoliticus Child Watching the Birth of the New Man, these works inaugurated a new world in which technological and political upheavals demanded the creation of new human forms.\\nIn the post\u2013World War II era, more monstrous forms of figuration emerged in response to the Holocaust and the atomic bomb, uniting artists such as Francis Bacon, Jacqueline de Jong, Alberto Giacometti, Eva Hesse, Alina Szapocznikow, and Tatsuo Ikeda. International figures including F.N. Souza, Demas Nwoko, and Uche Okeke imagined postcolonial bodies that expanded upon European modernism, creating new humans for new nations. These works highlight the tension between idealized, engineered humans and bodies shaped by technological violence, alongside those that fall outside techno-utopian visions, embracing aberration and nonhuman relationships as a liberatory potential. Contemporary artists such as Julien Creuzet, Jaider Esbell, Jana Euler, Christopher Kulendran Thomas, Tau Lewis, and Portia Zvavahera continue to explore speculative universes where definitions of the human are constantly renegotiated with the natural and animal world.\\nThe exhibition also envisions spaces\u2014both natural and architectural\u2014where new forms of life may thrive. Imaginary cities by Sophia Al-Maria, Bodys Isek Kingelez, Gyula Kosice, Constant Nieuwenhuys, Hariton Pushwagner, and Albert Robida serve as habitats for chimeric beings, including Anicka Yi\u2019s hovering aerobes displayed in the fourth-floor galleries of the OMA-designed building. These works visualize potential futures and reflect collective advances and upheavals in society, presenting myriad possibilities for the humans we may become.\\nNew Humans: Memories of the Future is curated by Massimiliano Gioni, Edlis Neeson Artistic Director; Gary Carrion-Murayari, Kraus Family Senior Curator; Vivian Crockett, Allen and Lola Goldring Curator; and Madeline Weisburg, Senior Assistant Curator; with Calvin Wang, Curatorial Assistant. \\nABOUT THE ARTISTS\\nAneta Grzeszykowska (b. 1974, Warsaw, Poland) is known for performance, photography, sculpture, and video exploring the fragmented body and the blurred boundaries between human and nonhuman, synthetic and organic; in her photographic series Mama (2018), she portrays her body as a lifelike silicone double interacted with by her daughter, challenging traditional maternal roles and self-representation. \\nGoshka Macuga (b. 1967, Warsaw, Poland) creates large-scale installations combining artifacts, archival materials, robotic drawings, and tapestries to examine human knowledge and cultural memory, including Before the Beginning and After the End (2016) and Transhumanism (2017), where a robot executes crude line drawings inspired by Harold Cohen\u2019s AARON program. \\nAlina Szapocznikow (b. 1926, Kalisz, Poland; d. 1973, Passy, France), a Holocaust survivor, is celebrated for sculptures that confront the vulnerability and ephemerality of the human body, including Kaprys - Monstre (1967), which uses casts of body parts, resin, and lighting to create a fragile, grotesque, and ambiguous figure reflecting both the horrors and transcendence of embodied experience.\\nAneta Grzeszykowska, Mama, 2018. Color pigment ink on cotton paper. Courtesy the artist and Lyles & King, New York. Aneta Grzeszykowska, Mama, 2018. Color pigment ink on cotton paper. Courtesy the artist and Lyles & King, New York. Aneta Grzeszykowska, Mama, 2018. Color pigment ink on cotton paper. Courtesy the artist and Lyles & King, New York. Goshka Macuga, Before the Beginning and After the End: Transhumanism, 2016. With Patrick Tresset. Ballpoint drawings by \u201cPaul-n system\u201d on a paper scroll. Courtesy the artist and Andrew Kreps, New York. Alina Szapocznikow, Kaprys \u2013 Monstre (Caprice \u2013 Monster), 1967. Polyurethane foam, colored polyester resin, lightbulb, electrical wiring, metal, cotton, and fiberglass. Courtesy the Estate of Alina Szapocznikow, Galerie Loevenbruck, Paris, and Hauser & Wirth.\\nARTIST LIST\\nA.C.M. (b. Alfred Corinne Mari\u00e9, 1951, Hargicourt, France; d. 2023, Hargicourt, France)Rebecca Allen (b. 1953, Marshall, MI)Sophia Al-Maria (b. 1983, Tacoma, WA)Monira Al Qadiri (b. 1983, Dakar, Senegal)Yuri Ancarani (b. 1972, Ravenna, Italy)Karel Appel (b. 1921, Amsterdam, Netherlands; d. 2006, Zurich, Switzerland)Ay\u00e9 A. Aton (b. Robert Underwood, 1940, Versailles, KY; d. 2017, Lexington, KY)Francis Bacon (b. 1909, Dublin, Ireland; d. 1992, Madrid, Spain)Nanni Balestrini (b. 1935, Milan, Italy; d. 2019, Rome, Italy)Ivana Ba\u0161i\u0107 (b. 1986, Belgrade, Yugoslavia [present-day Serbia])Thomas Bayrle (b. 1937, Berlin, Germany)Lucy Beech (b. 1985, Hull, UK)Hans Bellmer (b. 1902, Kattowitz, German Empire [present-day Katowice, Poland]; d. 1975, Paris, France)Benedetta (b. Benedetta Cappa, 1897, Rome, Italy; d. 1977, Venice, Italy)Meriem Bennani (b. 1988, Rabat, Morocco)\\nEmery Blagdon (b. 1907, Callaway, NE; d. 1986, Callaway, NE)Erwin Blumenfeld (b. 1897, Berlin, Germany; d. 1969, Rome, Italy)Alexander \u201cSkunder\u201d Boghossian (b. 1937, Addis Ababa, Ethiopia; d. 2003, Washington, DC)F.W. Bogler (b. 1902, Hofgeismar, Germany; d. 1945, Zell am See, Austria)Kurt Schmidt (b. 1901, Limbach\/Sachsen, Germany; d. 1991, Gera, Germany)Georg Teltscher (b. 1904, Purkersdorf, Austro-Hungarian Empire [present-day Austria]; d. 1983, London, UK)Martha Boto (b. 1925, Buenos Aires, Argentina; d. 2004, Paris, France)Constantin Br\u00e2ncu\u0219i (b. 1876, Hobi\u0163a, Romania; d. 1957, Paris, France)Marianne Brandt (b. 1893, Chemnitz, Germany; d. 1983, Kirchberg, Germany)K.P. Brehmer (b. 1938, Berlin, Germany; d. 1997, Hamburg, Germany)Andr\u00e9 Breton (b. 1896, Tinchebray, France; d. 1966, Paris, France)Teresa Burga (b. 1935, Iquitos, Peru; d. 2021, Lima, Peru)Miriam Cahn (b. 1949, Basel, Switzerland)Cao Fei (b. 1978, Guangzhou, China)Enrique Castro-Cid (b. 1937, Santiago, Chile; d. 1992, Santiago, Chile)Giannina Censi (b. 1913, Milan, Italy; d. 1995, Voghera, Italy)Barbara Chase-Riboud (b. 1939, Philadelphia, PA)Iakov Chernikhov (b. 1889, Pavlohrad, Russian Empire [present-day Ukraine]; d. 1951, Moscow, USSR)Thomas Chimes (b. 1921, Philadelphia, PA; d. 2009, Philadelphia, PA)Anna Coleman Ladd (b. 1878, Philadelphia, PA; d. 1939, Santa Barbara, CA)Constant (b. Constant Nieuwenhuys, 1920, Amsterdam, The Netherlands; d. 2005, Utrecht, The Netherlands)Anal\u00edvia Cordeiro (b. 1954, S\u00e3o Paulo, Brazil)Magda Cordell McHale (b. Magda Lustigova, 1921, Nov\u00e9 Z\u00e1mky, Hungary [present-day Slovakia]; d. 2008, Sloan, NY)Henrique Alvim Corr\u00eaa (b. 1876, Rio de Janeiro, Brazil; d. 1910, Brussels, Belgium)Beatriz Cortez (b. 1970, San Salvador, El Salvador)Julien Creuzet (b. 1986, Paris, France)Vit\u00f3ria Cribb (b. 1996, Rio de Janeiro, Brazil)Cui Jie (b. 1983, Shanghai, China)Salvador Dal\u00ed (b. 1904, Figueres, Spain; d. 1989, Figueres, Spain)Lenora de Barros (b. 1953, S\u00e3o Paulo, Brazil)Jacqueline de Jong (b. 1939, Hengelo, The Netherlands; d. 2024, Amsterdam, The Netherlands)Jorge de la Vega (b. 1930, Buenos Aires, Argentina; d. 1971, Buenos Aires, Argentina)Jeremy Deller (b. 1966, London, UK)Agnes Denes (b. 1931, Budapest, Hungary)Simon Denny (b. 1982, Auckland, New Zealand)Sara Deraedt (b. 1984, Asse, Belgium)Valentine de Saint-Point (b. 1875, Lyon, France; d. 1953, Cairo, Egypt)Stephanie Dinkins (b. 1964, Perth Amboy, NJ)Patricia Dom\u00ednguez (b. 1984, Santiago, Chile)\\nABOUT THE NEW MUSEUM\\nThe New Museum is the only museum in New York City exclusively devoted to contemporary art. Founded in 1977, it serves as a center for exhibitions, information, and documentation about living artists from around the world.\\nFrom its beginnings as a one-room office on Hudson Street to the inauguration of its first freestanding building on the Bowery, designed by SANAA in 2007, the New Museum continues to be a place of experimentation and a hub of new art and new ideas.\\nPUBLICATION\\nNew Humans: Memories of the Future is accompanied by a fully illustrated catalog copublished by Phaidon and the New Museum, edited by Massimiliano Gioni, Gary Carrion-Murayari, and Madeline Weisburg, with Calvin Wang.\\nThe catalog features essays by Aaron Betsky, Gary Carrion-Murayari, Erin Christovale, Meghan Forbes, Hal Foster, Massimiliano Gioni, Sophie Lewis, Eric Michaud, Katy Siegel, McKenzie Wark, and Gary Zhexi Zhang, as well as monographic texts on all the featured artists.\\nPUBLIC PROGRAMS\\nNew Humans public programs will include conversations and workshops with exhibiting artists, including Cannupa Hanska Luger, Steffani Jemison, Precious Okoyomon, Berenice Olmedo, WangShui, Hito Steyerl, and Anicka Yi, alongside other artists and thinkers, including Kate Crawford, Lou Cornum, Leslie Cuyjet, David Gissen, Trevor Paglen, and Ariel Yelen.\\nThe program series will culminate with a performance by Sun Ra Arkestra. Details about these programs and other special events celebrating the New Museum\u2019s reopening will be announced in the coming weeks.\\nThe lead sponsor for New Humans: Memories of the Future is supported by leadership from the Daniel Xu & Flora Huang Foundation, major support from Lonti Ebers, the Amant Foundation Major Exhibitions Fund, and The Andy Warhol Foundation for the Visual Arts, with artist commissions generously provided by the Neeson \/ Edlis Artist Commissions Fund; we gratefully acknowledge the Artistic Director\u2019s Circle, International Leadership Council, Artemis Council of the New Museum, and Friends of New Humans, with Hartwig Art Foundation as presenting partner.\"},{\"@type\":\"ImageObject\",\"inLanguage\":\"pl-PL\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/06\/new-humans-memories-of-the-future-at-the-new-museum-2\/#primaryimage\",\"url\":\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/02\/NewHumans_Announcement_StillImage-scaled.jpg\",\"contentUrl\":\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/02\/NewHumans_Announcement_StillImage-scaled.jpg\",\"width\":2048,\"height\":2560},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/06\/new-humans-memories-of-the-future-at-the-new-museum-2\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/instytutpolski.pl\/newyork\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"„New Humans: Memories of the Future” at the New Museum\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#website\",\"url\":\"https:\/\/instytutpolski.pl\/newyork\/\",\"name\":\"Instytut Polski w Nowym Jorku\",\"description\":\"Instytuty Polskie\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/instytutpolski.pl\/newyork\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"pl-PL\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/c732b2695ee92026d080eec35471c7f1\",\"name\":\"stypulkowskaa\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pl-PL\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/a29bb1802c91e057084d5d112dd59dc4?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/a29bb1802c91e057084d5d112dd59dc4?s=96&d=mm&r=g\",\"caption\":\"stypulkowskaa\"},\"url\":\"https:\/\/instytutpolski.pl\/newyork\/author\/stypulkowskaa-2\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"\"New Humans: Memories of the Future\" at the New Museum - Instytut Polski w Nowym Jorku","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/06\/new-humans-memories-of-the-future-at-the-new-museum-2\/","og_locale":"pl_PL","og_type":"article","og_title":"\"New Humans: Memories of the Future\" at the New Museum - Instytut Polski w Nowym Jorku","og_description":"Exhibition to span entire New Museum and feature the work of more than two hundred international artists, writers, scientists, architects, and filmmakers, including three Polish artists Aneta Grzeszykowska, Goshka Macuga and Alina Szapocznikow, among others. Opening Saturday, March 21 \u2014 Ongoing New Museum235 Bowery, New York, NY 1000Tickets The New Museum announced the complete artist […]","og_url":"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/06\/new-humans-memories-of-the-future-at-the-new-museum-2\/","og_site_name":"Instytut Polski w Nowym Jorku","article_published_time":"2026-03-06T18:15:51+00:00","article_modified_time":"2026-03-31T23:21:20+00:00","og_image":[{"width":2048,"height":2560,"url":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/02\/NewHumans_Announcement_StillImage-scaled.jpg","type":"image\/jpeg"}],"author":"stypulkowskaa","twitter_card":"summary_large_image","twitter_misc":{"Napisane przez":"stypulkowskaa","Szacowany czas czytania":"16 minut"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"event","@id":"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/06\/new-humans-memories-of-the-future-at-the-new-museum-2\/","url":"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/06\/new-humans-memories-of-the-future-at-the-new-museum-2\/","name":"\"New Humans: Memories of the Future\" at the New Museum","isPartOf":{"@id":"https:\/\/instytutpolski.pl\/newyork\/#website"},"primaryImageOfPage":{"@id":"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/06\/new-humans-memories-of-the-future-at-the-new-museum-2\/#primaryimage"},"image":["https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/02\/NewHumans_Announcement_StillImage-scaled.jpg","https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/02\/NewHumans_Announcement_StillImage-240x300.jpg","https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/02\/NewHumans_Announcement_StillImage-819x1024.jpg","https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/02\/NewHumans_Announcement_StillImage-scaled.jpg"],"thumbnailUrl":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/02\/NewHumans_Announcement_StillImage-scaled.jpg","datePublished":"2026-03-06T18:15:51+02:00","dateModified":"2026-03-31T23:21:20+02:00","author":{"@id":"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/c732b2695ee92026d080eec35471c7f1"},"breadcrumb":{"@id":"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/06\/new-humans-memories-of-the-future-at-the-new-museum-2\/#breadcrumb"},"inLanguage":"pl-PL","potentialAction":[{"@type":"ReadAction","target":["https:\/\/instytutpolski.pl\/newyork\/2026\/03\/06\/new-humans-memories-of-the-future-at-the-new-museum-2\/"]}],"@context":"https:\/\/schema.org","startDate":"2026-03-21","endDate":"2026-06-30","eventStatus":"EventScheduled","eventAttendanceMode":"OfflineEventAttendanceMode","location":{"@type":"place","name":"","address":"","geo":{"@type":"GeoCoordinates","latitude":"","longitude":""}},"description":"Exhibition to span entire New Museum and feature the work of more than two hundred international artists, writers, scientists, architects, and filmmakers, including three Polish artists Aneta Grzeszykowska, Goshka Macuga and Alina Szapocznikow, among others. \nOpening Saturday, March 21 \u2014 Ongoing New Museum235 Bowery, New York, NY 1000Tickets \nThe New Museum announced the complete artist list for New Humans: Memories of the Future, the first exhibition to span the entirety of the expanded New Museum, opening on March 21, 2026. Across the New Museum\u2019s SANAA-designed building and OMA-designed expansion, New Humans will trace a diagonal history of the past one hundred years through the work of more than two hundred international artists, writers, scientists, architects, and filmmakers. The exhibition highlights key moments when dramatic technological and societal changes spurred new conceptions of humanity and new visions for its possible futures. Continuing the New Museum\u2019s long history of presenting provocative and timely group exhibitions, New Humans: Memories of the Future will explore artists\u2019 enduring preoccupation with what it means to be human in the face of sweeping technological changes.\nSpanning over a century and featuring artists from more than fifty countries, the exhibition highlights rarely seen works while also premiering more than fifteen new commissions by some of today\u2019s most exciting contemporary artists, including Ryan Gander, Camille Henrot, Jamian Juliano-Villani, Wangechi Mutu, Hito Steyerl, Alice Wang, and Santiago Yahuarcani, among many others. Canonical figures of twentieth-century art, like Constantin Br\u00e2ncu\u0219i, Andr\u00e9 Breton, Salvador Dal\u00ed, Man Ray, and August Sander, are brought into dialogue with overlooked and eccentric visionaries such as Bruce Lacey, Rammellzee, Toyen, and Unica Z\u00fcrn. The wide range of works captures individualized responses to moments of sweeping global change, offering proposals that resonate with contemporary moment while also documenting dreams of futures that never arrived.\nKey works by three Polish artists Aneta Grzeszykowska, Goshka Macuga and Alina Szapocznikow, are essential to the presentation of New Humans. Grzeszykowska (b. 1974) will be represented by her photographic series Mama (2018), in which she uses a lifelike silicone model of her own body to explore family relationship, self-representation, and blurred lines between the real and the artificial. Macuga (b.1967) will be represented by her robot-assisted drawing projects Before the Beginning and After the End (2016) and Transhumanism (2017), which bring together archival images, cultural references, and machine-made drawings to examine how human knowledge is created, stored, and reshaped by new technologies. In dialogue with these works, Kaprys - Monstre (1967) by Alina Szapoznikow (b.1926) will be presented, whose sculptural practice uses cast body fragments made of resin and other industrial materials to confront vulnerability, memory, and the lasting impact of trauma on the human form. Collectively, the works of these Polish artists examine how the human body is reimagined through personal experience, technology, and cultural memory.\nAs with earlier thematic exhibitions at the New Museum, New Humans finds the roots of the contemporary in the layers of the past. The exhibition highlights recurring collective fears of and aspirations for new technologies as they emerge with the potential to shape\u2014or even dominate\u2014human life. Rejecting the idea of linear progress in both humanity and technology, the show stages their relationship as a series of leaps, returns, and reversals, placing artists and objects in critical dialogue across time. Most notably, the exhibition establishes a symmetry between the 1920s and the present, when the term \u201crobot\u201d first appeared, automated factory labor rose, mechanized warfare emerged, and new media proliferated. These phenomena echo today\u2019s disruptive diffusion of AI, contemporary warfare, and the complex networks of misinformation that shape communication in the digital age.\nHighlighting these transhistorical correspondences, the exhibition connects medical devices invented for soldiers returning from World War I to contemporary imaginings of a transhumanist future. The image of the \u201cNew Man\u201d and the \u201cNew Woman\u201d in early twentieth-century avant-garde work presages cyborgs and bioengineered bodies imagined by today\u2019s artists and technologists. Broken and reassembled bodies in the work of Hans Bellmer and Hannah H\u00f6ch, for example, anticipate transhuman forms explored by Berenice Olmedo, Cao Fei, and Janiva Ellis. Similarly, the flood of AI-generated images and videos in our digital landscape finds its precedent in machine-aided computer drawings and programmed art of the 1960s by pioneering women such as Anal\u00edvia Cordeiro, Vera Moln\u00e1r, and Lillian Schwartz.\nNew Humans considers how scientific advances have transformed representations of the human body, offering portraits of life from the embryonic stage to post-human possibilities. Diagrams, models, and documentation of scientific discoveries\u2014including Lennart Nilsson\u2019s photographs of embryos, Santiago Ram\u00f3n y Cajal\u2019s brain diagrams, Franz Tschakert\u2019s Glass Man, and Wilder Graves Penfield\u2019s sensory homunculus\u2014provide both anatomical insight and artistic inspiration. Artists like Yuri Ancarani, Lucy Beech, and Angela Su use surgical technology, bioengineering, and medical illustration to create surreal works. Figures range from sleek automatons to human-animal hybrids, while mechanical life forms by Lee Bul, Lynn Hershman Leeson, Pamela Rosenkranz, and Andro Wekua appear alongside iconic pop-culture beings like Carlo Rambaldi\u2019s E.T. and H.R. Giger\u2019s Necronom from Alien. The exhibition shows how machines have profoundly reshaped our understanding of labor, gender, intelligence, collectivity, and creativity.\nThe show traces pivotal historical moments such as the myth of the \u201cNew Man\u201d and the emergence of the \u201cNew Woman\u201d in Bauhaus and avant-garde contexts, with works by El Lissitzky, Francis Picabia, Marianne Brandt, Karla Grosch, and Florence Henri. Futurists, Dadaists, and Surrealists imagined mechanical offspring\u2014children born without mothers\u2014that reflected both technological wonder and the looming specter of fascism. From Elsa von Freytag-Loringhoven\u2019s industrial readymade God, created with Morton Livingston Schamberg, to Dal\u00ed\u2019s Geopoliticus Child Watching the Birth of the New Man, these works inaugurated a new world in which technological and political upheavals demanded the creation of new human forms.\nIn the post\u2013World War II era, more monstrous forms of figuration emerged in response to the Holocaust and the atomic bomb, uniting artists such as Francis Bacon, Jacqueline de Jong, Alberto Giacometti, Eva Hesse, Alina Szapocznikow, and Tatsuo Ikeda. International figures including F.N. Souza, Demas Nwoko, and Uche Okeke imagined postcolonial bodies that expanded upon European modernism, creating new humans for new nations. These works highlight the tension between idealized, engineered humans and bodies shaped by technological violence, alongside those that fall outside techno-utopian visions, embracing aberration and nonhuman relationships as a liberatory potential. Contemporary artists such as Julien Creuzet, Jaider Esbell, Jana Euler, Christopher Kulendran Thomas, Tau Lewis, and Portia Zvavahera continue to explore speculative universes where definitions of the human are constantly renegotiated with the natural and animal world.\nThe exhibition also envisions spaces\u2014both natural and architectural\u2014where new forms of life may thrive. Imaginary cities by Sophia Al-Maria, Bodys Isek Kingelez, Gyula Kosice, Constant Nieuwenhuys, Hariton Pushwagner, and Albert Robida serve as habitats for chimeric beings, including Anicka Yi\u2019s hovering aerobes displayed in the fourth-floor galleries of the OMA-designed building. These works visualize potential futures and reflect collective advances and upheavals in society, presenting myriad possibilities for the humans we may become.\nNew Humans: Memories of the Future is curated by Massimiliano Gioni, Edlis Neeson Artistic Director; Gary Carrion-Murayari, Kraus Family Senior Curator; Vivian Crockett, Allen and Lola Goldring Curator; and Madeline Weisburg, Senior Assistant Curator; with Calvin Wang, Curatorial Assistant. \nABOUT THE ARTISTS\nAneta Grzeszykowska (b. 1974, Warsaw, Poland) is known for performance, photography, sculpture, and video exploring the fragmented body and the blurred boundaries between human and nonhuman, synthetic and organic; in her photographic series Mama (2018), she portrays her body as a lifelike silicone double interacted with by her daughter, challenging traditional maternal roles and self-representation. \nGoshka Macuga (b. 1967, Warsaw, Poland) creates large-scale installations combining artifacts, archival materials, robotic drawings, and tapestries to examine human knowledge and cultural memory, including Before the Beginning and After the End (2016) and Transhumanism (2017), where a robot executes crude line drawings inspired by Harold Cohen\u2019s AARON program. \nAlina Szapocznikow (b. 1926, Kalisz, Poland; d. 1973, Passy, France), a Holocaust survivor, is celebrated for sculptures that confront the vulnerability and ephemerality of the human body, including Kaprys - Monstre (1967), which uses casts of body parts, resin, and lighting to create a fragile, grotesque, and ambiguous figure reflecting both the horrors and transcendence of embodied experience.\nAneta Grzeszykowska, Mama, 2018. Color pigment ink on cotton paper. Courtesy the artist and Lyles & King, New York. Aneta Grzeszykowska, Mama, 2018. Color pigment ink on cotton paper. Courtesy the artist and Lyles & King, New York. Aneta Grzeszykowska, Mama, 2018. Color pigment ink on cotton paper. Courtesy the artist and Lyles & King, New York. Goshka Macuga, Before the Beginning and After the End: Transhumanism, 2016. With Patrick Tresset. Ballpoint drawings by \u201cPaul-n system\u201d on a paper scroll. Courtesy the artist and Andrew Kreps, New York. Alina Szapocznikow, Kaprys \u2013 Monstre (Caprice \u2013 Monster), 1967. Polyurethane foam, colored polyester resin, lightbulb, electrical wiring, metal, cotton, and fiberglass. Courtesy the Estate of Alina Szapocznikow, Galerie Loevenbruck, Paris, and Hauser & Wirth.\nARTIST LIST\nA.C.M. (b. Alfred Corinne Mari\u00e9, 1951, Hargicourt, France; d. 2023, Hargicourt, France)Rebecca Allen (b. 1953, Marshall, MI)Sophia Al-Maria (b. 1983, Tacoma, WA)Monira Al Qadiri (b. 1983, Dakar, Senegal)Yuri Ancarani (b. 1972, Ravenna, Italy)Karel Appel (b. 1921, Amsterdam, Netherlands; d. 2006, Zurich, Switzerland)Ay\u00e9 A. Aton (b. Robert Underwood, 1940, Versailles, KY; d. 2017, Lexington, KY)Francis Bacon (b. 1909, Dublin, Ireland; d. 1992, Madrid, Spain)Nanni Balestrini (b. 1935, Milan, Italy; d. 2019, Rome, Italy)Ivana Ba\u0161i\u0107 (b. 1986, Belgrade, Yugoslavia [present-day Serbia])Thomas Bayrle (b. 1937, Berlin, Germany)Lucy Beech (b. 1985, Hull, UK)Hans Bellmer (b. 1902, Kattowitz, German Empire [present-day Katowice, Poland]; d. 1975, Paris, France)Benedetta (b. Benedetta Cappa, 1897, Rome, Italy; d. 1977, Venice, Italy)Meriem Bennani (b. 1988, Rabat, Morocco)\nEmery Blagdon (b. 1907, Callaway, NE; d. 1986, Callaway, NE)Erwin Blumenfeld (b. 1897, Berlin, Germany; d. 1969, Rome, Italy)Alexander \u201cSkunder\u201d Boghossian (b. 1937, Addis Ababa, Ethiopia; d. 2003, Washington, DC)F.W. Bogler (b. 1902, Hofgeismar, Germany; d. 1945, Zell am See, Austria)Kurt Schmidt (b. 1901, Limbach\/Sachsen, Germany; d. 1991, Gera, Germany)Georg Teltscher (b. 1904, Purkersdorf, Austro-Hungarian Empire [present-day Austria]; d. 1983, London, UK)Martha Boto (b. 1925, Buenos Aires, Argentina; d. 2004, Paris, France)Constantin Br\u00e2ncu\u0219i (b. 1876, Hobi\u0163a, Romania; d. 1957, Paris, France)Marianne Brandt (b. 1893, Chemnitz, Germany; d. 1983, Kirchberg, Germany)K.P. Brehmer (b. 1938, Berlin, Germany; d. 1997, Hamburg, Germany)Andr\u00e9 Breton (b. 1896, Tinchebray, France; d. 1966, Paris, France)Teresa Burga (b. 1935, Iquitos, Peru; d. 2021, Lima, Peru)Miriam Cahn (b. 1949, Basel, Switzerland)Cao Fei (b. 1978, Guangzhou, China)Enrique Castro-Cid (b. 1937, Santiago, Chile; d. 1992, Santiago, Chile)Giannina Censi (b. 1913, Milan, Italy; d. 1995, Voghera, Italy)Barbara Chase-Riboud (b. 1939, Philadelphia, PA)Iakov Chernikhov (b. 1889, Pavlohrad, Russian Empire [present-day Ukraine]; d. 1951, Moscow, USSR)Thomas Chimes (b. 1921, Philadelphia, PA; d. 2009, Philadelphia, PA)Anna Coleman Ladd (b. 1878, Philadelphia, PA; d. 1939, Santa Barbara, CA)Constant (b. Constant Nieuwenhuys, 1920, Amsterdam, The Netherlands; d. 2005, Utrecht, The Netherlands)Anal\u00edvia Cordeiro (b. 1954, S\u00e3o Paulo, Brazil)Magda Cordell McHale (b. Magda Lustigova, 1921, Nov\u00e9 Z\u00e1mky, Hungary [present-day Slovakia]; d. 2008, Sloan, NY)Henrique Alvim Corr\u00eaa (b. 1876, Rio de Janeiro, Brazil; d. 1910, Brussels, Belgium)Beatriz Cortez (b. 1970, San Salvador, El Salvador)Julien Creuzet (b. 1986, Paris, France)Vit\u00f3ria Cribb (b. 1996, Rio de Janeiro, Brazil)Cui Jie (b. 1983, Shanghai, China)Salvador Dal\u00ed (b. 1904, Figueres, Spain; d. 1989, Figueres, Spain)Lenora de Barros (b. 1953, S\u00e3o Paulo, Brazil)Jacqueline de Jong (b. 1939, Hengelo, The Netherlands; d. 2024, Amsterdam, The Netherlands)Jorge de la Vega (b. 1930, Buenos Aires, Argentina; d. 1971, Buenos Aires, Argentina)Jeremy Deller (b. 1966, London, UK)Agnes Denes (b. 1931, Budapest, Hungary)Simon Denny (b. 1982, Auckland, New Zealand)Sara Deraedt (b. 1984, Asse, Belgium)Valentine de Saint-Point (b. 1875, Lyon, France; d. 1953, Cairo, Egypt)Stephanie Dinkins (b. 1964, Perth Amboy, NJ)Patricia Dom\u00ednguez (b. 1984, Santiago, Chile)\nABOUT THE NEW MUSEUM\nThe New Museum is the only museum in New York City exclusively devoted to contemporary art. Founded in 1977, it serves as a center for exhibitions, information, and documentation about living artists from around the world.\nFrom its beginnings as a one-room office on Hudson Street to the inauguration of its first freestanding building on the Bowery, designed by SANAA in 2007, the New Museum continues to be a place of experimentation and a hub of new art and new ideas.\nPUBLICATION\nNew Humans: Memories of the Future is accompanied by a fully illustrated catalog copublished by Phaidon and the New Museum, edited by Massimiliano Gioni, Gary Carrion-Murayari, and Madeline Weisburg, with Calvin Wang.\nThe catalog features essays by Aaron Betsky, Gary Carrion-Murayari, Erin Christovale, Meghan Forbes, Hal Foster, Massimiliano Gioni, Sophie Lewis, Eric Michaud, Katy Siegel, McKenzie Wark, and Gary Zhexi Zhang, as well as monographic texts on all the featured artists.\nPUBLIC PROGRAMS\nNew Humans public programs will include conversations and workshops with exhibiting artists, including Cannupa Hanska Luger, Steffani Jemison, Precious Okoyomon, Berenice Olmedo, WangShui, Hito Steyerl, and Anicka Yi, alongside other artists and thinkers, including Kate Crawford, Lou Cornum, Leslie Cuyjet, David Gissen, Trevor Paglen, and Ariel Yelen.\nThe program series will culminate with a performance by Sun Ra Arkestra. Details about these programs and other special events celebrating the New Museum\u2019s reopening will be announced in the coming weeks.\nThe lead sponsor for New Humans: Memories of the Future is supported by leadership from the Daniel Xu & Flora Huang Foundation, major support from Lonti Ebers, the Amant Foundation Major Exhibitions Fund, and The Andy Warhol Foundation for the Visual Arts, with artist commissions generously provided by the Neeson \/ Edlis Artist Commissions Fund; we gratefully acknowledge the Artistic Director\u2019s Circle, International Leadership Council, Artemis Council of the New Museum, and Friends of New Humans, with Hartwig Art Foundation as presenting partner."},{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/06\/new-humans-memories-of-the-future-at-the-new-museum-2\/#primaryimage","url":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/02\/NewHumans_Announcement_StillImage-scaled.jpg","contentUrl":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/02\/NewHumans_Announcement_StillImage-scaled.jpg","width":2048,"height":2560},{"@type":"BreadcrumbList","@id":"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/06\/new-humans-memories-of-the-future-at-the-new-museum-2\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/instytutpolski.pl\/newyork\/"},{"@type":"ListItem","position":2,"name":"„New Humans: Memories of the Future” at the New Museum"}]},{"@type":"WebSite","@id":"https:\/\/instytutpolski.pl\/newyork\/#website","url":"https:\/\/instytutpolski.pl\/newyork\/","name":"Instytut Polski w Nowym Jorku","description":"Instytuty Polskie","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/instytutpolski.pl\/newyork\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"pl-PL"},{"@type":"Person","@id":"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/c732b2695ee92026d080eec35471c7f1","name":"stypulkowskaa","image":{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/a29bb1802c91e057084d5d112dd59dc4?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/a29bb1802c91e057084d5d112dd59dc4?s=96&d=mm&r=g","caption":"stypulkowskaa"},"url":"https:\/\/instytutpolski.pl\/newyork\/author\/stypulkowskaa-2\/"}]}},"_links":{"self":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts\/20026","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/users\/202"}],"replies":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/comments?post=20026"}],"version-history":[{"count":3,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts\/20026\/revisions"}],"predecessor-version":[{"id":20161,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts\/20026\/revisions\/20161"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/media\/19893"}],"wp:attachment":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/media?parent=20026"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/categories?post=20026"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/tags?post=20026"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}