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The idea of cutting up a medieval manuscript is almost unthinkable today. Historically, however, this practice was relatively common, and it reached a fever pitch in the late nineteenth and early twentieth centuries.

This is the first ever major museum exhibition devoted to the work of Ernest Hemingway (1899–1961), one of the most celebrated American authors of the 20th century.

John Milton's Paradise Lost celebrates the 400th anniversary of the birth of John Milton (1608–1674) with an exhibition drawn from the Morgan's collection of the English poet's work, which includes the only surviving manuscript of Paradise Lost.

This exhibition will include more than ninety drawings created between 1900 and 2013 by artists from Matisse, Mondrian, and Schiele to Pollock, Warhol, Lichtenstein, Twombly, and—more recently—Kippenberger and Dumas.

The exhibition explores Whitman’s process of self-invention, from his early years as a journalist, through the early 1850s when Whitman began to write more privately and poetically, to his final years.

This New Yorker bouquet is drawn from the extraordinary collection of over 1300 drawings for the magazine assembled by Melvin R. Seiden.

The Morgan is home to one of the world’s largest and most important collections of drawings by Giambattista Tiepolo (1696–1770) and his eldest son Domenico (1727–1804), with more than 300 representative examples of their lively invention and masterful techniques.

Delirium: The Art of the Symbolist Book explores creative encounters between Symbolist authors and the artists in their circles.

One of the most celebrated contemporary German artists, Georg Baselitz (b. 1938) gained international recognition in the 1960s for revitalizing figurative painting. This exhibition celebrates the gift from Baselitz to the Morgan of fifty drawings covering the span of his entire career.

British artist Bridget Riley (b. 1931) is one of the most celebrated abstract painters of her generation. This exhibition—the first dedicated exclusively to her drawings in over fifty years—provides an intimate view of Riley's studio practice, in which the making of works on paper plays a central role.