On view throughout the Museum are an especially varied range of objects, images, and room-sized installations, including masterworks by some of the most influential artists of the pictures past forty years, along with an impressive number of recently acquired works by emerging artists. Open Ends includes eleven zebra and pictures distinct exhibitions and ten large-scale works and installations that examine key themes and lines of affinity that define contemporary art and artists. The exhibition opens in three stages. Architecture Hot and Cold presents a wide range of images of architecture principally drawn from the Museum’s collections of photographs zebra and architectural drawings. The exhibition includes works by architects including Archigram and Rem Koolhaas are shown alongside the photography of Andreas pictures Gursky and Robert zebra Adams, for example, as well as works in different media by artists such as Gordon Matta-Clark, pictures Andy Warhol, and Joel zebra Shapiro.

One Thing After Another explores the relationship of printmaking to the proliferation of serial imagery in the contemporary period. Classic serial print projects from Pop art and Minimalism are juxtaposed with works from 1980s and 1990s. Artists included range from Andy Warhol, Roy Lichtenstein, Ellsworth Kelly, and Brice Marden to Rosemarie Trockel, John Armleder, Yukinori Yanagi, and Anish Kapoor. Pop and After juxtaposes major works of the 1960s by American and European artists, which focus on mass media and the iconography of consumer culture, with works by younger creators of the 1980s and 1990s that extend and twist the stylistic and social concerns of Pop art. Artists included range from Andy Warhol, Claes Oldenburg, and Roy Lichtenstein to Jeff Koons, David Hammons, and Damien Hirst.

Glazing can be either glass or acrylic. Only glass pictures should be used with any friable media such as unfixed pastels, zebra charcoals, or graphite, never acrylic as it can damage the work by attracting these materials. There are many brands of acrylic glazing to choose from; one with pictures an ultraviolet filter is recommended. The frame and the mat should be deep enough to prevent the artwork from touching the glazing. A stiff backboard behind the mat protects and supports the matted artwork. It is best to use non-acidic boards. A dust seal with paper or tape is also recommended. What damage results from using poor quality mat board? Avoid mat boards containing wood pulp which causes "matburn"--a darkening of the paper under the mat or at the bevel cut of the zebra window mat. This type of stain permanently weakens the paper fibers and is not easily removed or lightened in conservation treatment.

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