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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.

Is there anyone who hasn't enjoyed making an abstract drawing -- an elaborate classroom doodle, a Spirograph masterpiece, a tic-tac-toe game? Marking up a blank piece of paper, even in these pixel-fixated times, seems an inherently human activity. But the stunning new exhibition of abstract -- or mostly abstract -- drawings at the Katonah Museum of Art reveals the elements of the sublime in this sometimes mundane pursuit. The title alone, ''Drawn/Taped/Burned: Abstraction on Paper,'' promises something special. And burning, taping and the usual suspects -- ink, pencil, charcoal -- are only the beginning. The show's artists, who range from megastars like Jasper Johns and Sol LeWitt to relative newcomers like Tristan Perich and Tad Mike, also deploy tea, dust, wax and tar. And their implements run the gamut from lichen to a computer-driven machine invented by Mr. Perich. [ABSTRACT FROM PUBLISHER]

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.

Participatory art came to the Museum of Modern Art long before Marina Abramovic began her daylong vigils seated opposite one random museum visitor at a time. It arrived at least as early as 1970, with the interactive, sewn-canvas sculptures of a young German artist named Franz Erhard Walther. These works were included in the museum's ''Spaces'' exhibition, a show of installations by five artists and one collective that was itself among the first of its kind. So it makes a certain sense that while Ms. Abramovic is performing in the Modern's atrium, Mr. Walther -- much better known in Europe than here -- is having his first solo show in New York in nearly 20 years. On view at Peter Freeman Inc. in SoHo, it contains 6 sculptures and more than 30 works on paper. Nearly all date from 1967 to 1973, when Mr. Walther was living and working in New York. [ABSTRACT FROM PUBLISHER]

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]

The article presents information related to the "Multiple Choice: From Sample to Product," exhibition, which is scheduled to take place on November 9, 2007 at the Smithsonian's Cooper-Hewitt National Design Museum in New York. The exhibition is reported to show instances from the museum's collection of wallpaper and fabric sample books, sample ceramic plates and other items. Lucy Commoner, the museum's head of conservation, talked about the beauty and modernity of objects to be exhibited.

This article presents information on various art exhibitions being organized in galleries in New York. Paper cups, opaque bottles and plain boxes: solidly painted in muted colors, these humble objects appear singly, in pairs or in small groups in Victor Pesce's mostly small paintings. Mr. Pesce's objects look slightly anthropomorphic. Simom Starling has devised a new suite of obscurely related objects and photographs whose theoretical interest is higher than its visual appeal. A massive sheet of steel, imported from Romania, rests on three air cushions.

Focuses on Dia: Beacon, an art museum to open in Beacon (N.Y.) along the banks of the Hudson River. Comments from Michael Govan, director of the Dia Art Foundation; Architectural description of Dia: Beacon, which was an abandoned factory; Amount paid by Dia for an environmental cleanup at the site; Role of New York governor George Pataki in persuading the International Paper Company, owners of the building, to donate it to the foundation; Description of Beacon (N.Y.) economically depressed; Amount of money donated by the state to construction of the museum; Tourist trade benefits the state is hoping to accrue from this project in the Hudson River Valley.

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.