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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.

Celebrating the art of the cartoonist, On the Money: Cartoons for The New Yorker features approximately eighty original drawings by some of The New Yorker's most talented and beloved artists who have tackled the theme of money and the many ways in which it defines us.

The Morgan holds the original manuscript and art for one of the world’s most widely read and cherished books, Antoine de Saint-Exupéry’s The Little Prince (1943).

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.

A widely connected pioneer of Pop and mail art, Ray Johnson (1927–1995) was described as “New York’s most famous unknown artist.”

This fall, the Morgan will display a selection of exceptional documents from the Gilder Lehrman Institute of American History, one of the country's foremost archives of Americana.

The Morgan Book Project, offered free of charge, is an annual extended learning program for NYC students in grades 3–12 in which they produce their own handmade accordion books.

To eighteenth- and nineteenth-century European artists, the ephemeral qualities of weather and light were as integral to their landscape paintings as the terrain itself.

From the tales of famous travelers like Marco Polo and Alexander the Great to the ancient encyclopedias of Pliny and Isidore, medieval conceptions of the world were often based more on authoritative tradition than direct observation.