You can buy admission tickets online. Pick a date and time to visit the Museum. Timed-entry slots are released generally one-month prior. All sales are final and payments cannot be refunded.
This program presents four of the fifteen surviving episodes of Sam and Friends, a five-minute, live television show created by Jim Henson and Jane Nebel (later Jane Henson) that aired daily on Washington, D.C.–based WRC-TV from 1955 to 1961.
Shot in the Roosevelt Ave/Jackson Heights station, this installation video captures the tide of New Yorkers streaming through an entrance to the subway system in what the filmmakers refer to as a “collective ballet.”
Eva Davidova’s participatory installation playfully incorporates both ancient myth and contemporary reality, highlighting the theme of interdependent responsibility in the wake of ecological disaster.
Allen Riley's Videofreak reimagines the arcade game experience by emphasizing the art of video manipulation over traditional gameplay elements like scorekeeping and end goals.
Tide Predictor is LoVid’s first code-driven generative artwork, a departure from a majority of their catalog, which centers experimentation with actual analog video. It will be displayed on the Museum's Schlosser Media Wall in the lobby.
In this video installation drawn exclusively from films made between 1896 and the late 1920s, Tan pairs mesmerizing moments of people working over a century ago—sewing fishing nets, harvesting wheat, collecting chicken eggs, sorting oysters—with missives from her Australia-based father, read aloud by Scottish actor Ian Henderson.
My Own Yard to Play in documents children at play on the streets of Harlem in the late 1950s.
Joshua Davis's the V01D is a programmatic artwork capable of generating tens of thousands of visual outputs.
Jane Henson (née Nebel) was one of her husband Jim Henson’s most significant longtime collaborators.This compilation highlights some of Jane’s performances with the Muppets.
In the ancient Greek myth of Echo, the cursed nymph is condemned to only repeat the words of others. Auriea Harvey reimagines the story in the monumental sculpture Echo (2024).
This series of video works span a multi-generational evolution of digital graphics, from early 1-bit constraints to complex three-dimensional models.
Vividly capturing the performances of big bands, folk artists, vocalists, dancers, and novelty acts, these proto music videos comprise a dynamic visual record of the popular entertainers of the era from 1941–1947.
Sasha Stiles’s video explores the ability for deep connection cultivated through the web.
Exploring the connections between queerness, embodiment, and speculative fiction, this video installation looks at bodies as sources of labor power, their ideological construction, and the possibilities granted by history and indeterminate futures.