
English: 
Sondra Perry. Wet and Wavy Looks—Typhoon coming on for a Three Monitor Workstation. 2016
Sondra Perry. Graft and Ash for 
a Three Monitor Workstation. 2016
Anicka Yi. Shameplex. 2015
Thomas Ruff. phg.06. 2012
Jennifer Bartlett. Rhapsody. 1975-76
Pablo Picasso. Les Demoiselles d'Avignon. 1907
Pablo Picasso. Woman's Head (Fernande). 1909
Vincent van Gogh. The Starry Night. 1889
Vincent van Gogh. Portrait of Joseph Roulin. 1889

English: 
Megan Randall, Assistant Projects Conservator: Last pre-morning cleaning!
Caitlin Richeson, Graduate Intern, Sculpture Conservation: Aww…
Megan: How long do you think it’s going
to take to empty these out?
Caitlin: A long time.
Megan: How gross do you think it’s going
to be?
Caitlin: The grossest.
Megan: Oh, I’m sorry that you’re carrying
all of this stuff.
Caitlin: Typical.
[Laughter]
Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture: We started meeting as a group of chief curators nearly ten years ago.
We wanted to discuss how we wanted to proceed in the presentation of the collection galleries.

English: 
Paul Cézanne. Still Life with Fruit Dish. 1879-80
Pablo Picasso. Les Demoiselles d'Avignon. 1907
Paul Cézanne. Turning Road at Montgeroult. 1898
Paul Cézanne. Pines and Rocks (Fontainebleau?). c. 1897
Paul Cézanne. Still Life with Ginger Jar, Sugar Bowl, and Oranges. 1902-06
Paul Cézanne. Château Noir. 1903-04
Gustav Klimt. Hope, II. 1907-08

English: 
I think we all felt that the current approach of having galleries that were designated by medium
didn’t correspond to the way that artists
are working.
So here we have a painting by Picasso, an
enormously important painting by Picasso.
Ann: It’s often described as the picture that set Picasso and Braque off on the invention
of a cubist language,
because you see how the shapes are starting to break down into a more abstract language,
especially, for example, in the chest of that woman on the far right.
Ann: Picasso made prints, he made drawings, he made sculptures.
To see an artist in all of the complexity
of the different mediums he or she used
gives you so much more opportunity than having the paintings the person made over here
and the drawings that person made three floors away.
Ann: There was no doubt in our minds that the first change we wanted to make was to integrate
all of the fields that the museum covers
in the circuit of galleries.

English: 
Ann: It’s an utter transformation in the makeup of the place.
Chet Gold, Security Supervisor: The last day! It’s a lot of energy today.

English: 
Barnett Newman. Vir Heroicus Sublimis. 1950-51
Franz Kline. Painting Number 2. 1954.
Mark Rothko. No. 16 (Red, Brown, and Black). 1958
Vincent van Gogh. The Starry Night. 1889
Jackson Pollock. One: Number 31, 1950. 1950
Frida Kahlo. Fulang-Chang and I. 1937

English: 
Jacques Deray. La Piscine (The Swimming Pool). 1968
Arthur Young. Bell-47D1 Helicopter. 1945
Isa Genzken. Rose II. 2007

English: 
Hunter Webb, Projectionist: This thing is sold out I think. It’s four o’clock.
Last film of season.
Hunter: I was thinking about it today, it was getting a little misty.
I just, I enjoy showing, but it’s just the
last public screening for a while.

English: 
Elizabeth Margulies, Director, Family Programs and Resources: What were you thinking about when you were making your arrangement?
Lydia: A famous artist.
Elizabeth: You were what?
Lydia’s Mother: A famous artist?
Elizabeth: You were thinking of a famous artist? Which famous artist did you have in mind?
Lydia: Faith Ringgold.
Elizabeth: Which one?
Lydia: Faith Ringgold.
Elizabeth: You were thinking of Faith Ringgold? Wow! What about Faith Ringgold were you thinking about that inspired you?
Lydia: She always makes quilts.
Elizabeth: Quilts! This really does remind me of a quilt.
Lydia’s mother: That does!
Elizabeth: That’s so interesting the way you put those squares down.
Lydia’s mother: I like that, Lydia!
Elizabeth: Wow!

English: 
Oskar Schlemmer. Bauhaus Stairway. 1932
Paul Cadmus. Greenwich Village Cafeteria. 1934
Hugo Gellert. Plate (folio 4); Plate (page 16); Plate (page 22); Plate (page 30); Plate (page 36); Plate (page 12); from Century of the Common Man. 1943

English: 
Honoré Sharrer. Workers and Paintings. 1943
Ben Shahn. Willis Avenue Bridge. 1940

English: 
Irene Feuerstein, Volunteer: Oh, maybe this is it.
Irene: I think this is it.
Yeah, this is it!
Libby Brodheim, Volunteer: You found it. Good for you!
Irene: This is it!
Irene: Honoré Sharrer.
Libby: And what is it called?
Irene and Libby: Workers and Paintings.
Irene: Do you see the
paintings?
Libby: Oh, yes.
Irene: Look what they have!
Libby: Oh and look at the American Gothic
over here-
Irene: Yeah.
Irene: And this is what MoMA owns. It’s my favorite picture in the museum.
Libby: Oh, the Picasso.
Irene: Girl In the Mirror.
Libby: The Picasso.
Irene: Oh, it’s 1932. That's when I was born! That’s why I like it so much.
Irene: So look at all the different people in here. It’s a great little painting.

English: 
Chet: ♫  Hello! It's almost over, it's almost over ♫
Chet: Exciting times.
Chet: Hey guys, just a heads up, we’re going to be closing in ten minutes. Thank you all for coming.
Chet: Have a great night, and see you in
October.
Visitor: Ten minutes for four months!
Chet: Yes, ten minutes for four months.
Visitor: Oh my god!
Chet: It’s happening.
Ann: They’re going in the wrong direction.
Chet: No, I’m trying to make it a soft close. I don’t want to be heavy-handed.
Chet: Thank you for coming guys. I’ll be here. I’ll stay here.
You can let them go, though. Alright. You’re good. Take some more time if you need.

English: 
Paul Signac. Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890. 1890
Georges-Pierre Seurat. The Channel at Gravelines, Evening, Marine avec des ancres. 1890.
Vincent van Gogh. The Olive Trees. Saint Rémy, 1889.
Max Bill. Expansion in Four Directions.1961-62
Claude Monet. Water Lilies. 1914-26
Tarsila do Amaral. The Moon. 1928
Frida Kahlo. Fulang-Chang and I. 1937 (assembled after 1939)
Max Ernst. Two Children Are Threatened by a Nightingale (Deux Enfants sont menacés par un rossignol). 1924
Claude Monet. Agapanthus. 1914-26
Claude Monet. Water Lilies. 1914-26

English: 
Claude Monet. The Japanese Footbridge. c. 1920-22
Andy Warhol. Double Elvis. 1963
Arthur Young. Bell-47D1 Helicopter. 1945

English: 
Chet: I’m just going to have to escort you
down.
Loudspeaker: May I have your attention please? The museum is now closed.
Please return your audio program units to the desk on the second floor,
and collect your belongings from the check room.
Loudspeaker: Agradecemos su atención por favor. El museo ha cerrado.
Por favor, devuelva las audioguías al mostrador de audio MoMA, y dirijase al guardarropa a retirar sus cosas.

English: 
Phil Edelstein, Artist: The sound has shape.

English: 
Henri Matisse. The Red Studio. 1911
Mark Rothko. No. 16 (Red, Brown, and Black). 1958
David Tudor with Composers Inside Electronics, Inc. Rainforest V (variation 1). 1973/2015
