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Reports that the Metropolitan Museum of Art has acquired the Gilman Paper Company Collection of photographs, an archive that includes hundreds of works from the medium's earliest years and that is widely considered to be the most important private photography collection in the world. Potential for the Met to become one the world's pre-eminent institutions for 19th century photographs; Reference to the Met's goal of acquiring the Gilman collection for the last 15 years; Question as to how much the collection cost and how much of it was a gift; Negotiations with the Gilman estate; Highlights from the collection.

On the third floor of the Museum of Modern Art in Midtown Manhattan rests a tribute to Esquire's glory years -- a collection of 92 covers from the 1960s and early 1970s that have become, in the museum's words, ''essential to the iconography of American culture.'' That illustrious history hangs over the magazine's effort to celebrate its 75th year. Its attempt to add to the annals of museum-worthy covers includes a nod to the digital age: an electronic cover, using admittedly rudimentary technology, that will flash ''the 21st Century Begins Now,'' when it appears on newsstands in September. [ABSTRACT FROM PUBLISHER]

The article presents information on several entertainment events to be held in New York. The theatrical previews of "The Fever," starring Wallace Shawn, will start on January 24, 2007 at Acorn Theatre. The recently released documentary film "51 Birch Street," directed by Doug Block is based on fifty four year marriage of his parents. The collection of drawings "A City on Paper: Saul Steinberg's New York," will be displayed at Museum of the City of New York, New York City.

The article focuses on the trends and activities of various art institutions in the U.S. in 2012. It says that Metropolitan Museum of Art (MoMA) remains silent over its plans for the Whitney's Breuer Building. It discusses various art shows in 2012 including shows featuring the works of Richard Artschwager and Yayoi Kusama at the Whitney Museum, the "Joseph Albers in America: Painting on Paper" exhibition at the Morgan Library & Museum, and the "Tokyo 1955-1970: A New Avant-Garde" show at MoMA.

MOST people associate museums with art and artifacts, not research libraries. But many of New York's most prestigious museums have extensive collections of books and papers. Four of them -- the Metropolitan Museum of Art, the Museum of Modern Art, the Brooklyn Museum and the Frick Collection -- have combined forces to share resources, save money and make their holdings more accessible to the public. Together these institutions make up the New York Art Resources Consortium, an integrated library system formed in 2007 that is supported by grants from the Andrew W. Mellon Foundation. Its Web site, nyarc.org, just went on line in February. Last year, three of the museums united their collections in one catalog, called Arcade (the Met has kept its catalog separate). [ABSTRACT FROM PUBLISHER]

In hundreds of exhibitions over the last three decades the names of a stunning number of curators and artists have entered the institutional memory of the Museum of Modern Art. But behind nearly all of these shows there has been a constant, a man whose name rarely surfaces anywhere except in invoices. It seems somehow appropriate, then, to find Jerome Neuner, the director of the museum's department of exhibition design and production, in a windowless office below street level, down an anonymous industrial hallway. The tables around him are covered by yards of scroll-like paper that look like something a medieval copyist might pore over. But these are computer-printed scrolls, precise, color-coded schedules that keep Mr. Neuner apprised of every important date involving the shows now happening or about to happen throughout the 125,000 square feet of gallery space above his head, 40,000 more square feet than he had to worry about before the museum's expansion was completed in 2004. [ABSTRACT FROM PUBLISHER]

The two-story project gallery tacked onto the back of the Aldrich Contemporary Art Museum is an awkward space. The walls are higher than they are wide, making even sizable paintings look a bit like postage stamps. Meanwhile, most sculpture just disappears. But finally the museum's curators have found an artwork that seems perfectly at home there. Sprouting from the center of the gallery is a 14-foot-high, approximately 650-pound object titled ''Aggregation 08-AU022'' (2008) by Kwang-Young Chun, a 64-year-old Korean artist who is well known in New York art circles. It is made from small triangular bricks of folded and tied mulberry paper wrapped around Styrofoam triangles and other geometric shapes glued to a wooden armature. [ABSTRACT FROM PUBLISHER]

Mentions an exhibit of architectural drawings, which will show until October 19, 2002 at the AXA Gallery in the atrium lobby of Equitable Tower in New York City. Display of the drawings which are notable for their innovative ideas for structures and cities that were never built; Discussion of so-called paper architecture; Credits for the exhibition.

Reports October 4, 1999 allegations, in court papers submitted by the Brooklyn Museum of Art, that New York City Mayor knew of the exhibition that he denounced in September 1999 when he ordered a cutoff of the museum's city financing. Museum Director Arnold Lehman's presentation as part of a discussion of museum financing; Background of the exhibition and Giuliani's attacks on it.