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Illusions of the Photographer combines a full career retrospective—the first on Michals to be organized by a New York City museum—with an artist’s-choice show, as Michals plumbs the Morgan’s vaults for treasures both revered and long-forgotten.

Drawn from the Morgan's collection, the exhibition examines the origins of modern scenic design and chronicles the evolution of stage sets during the highly innovative period of ca. 1900 to 1970.

By the early nineteenth century, artists throughout Europe had grown increasingly interested in depicting the weather.

A Collective Invention: Photographs at Play signals the debut of photography as a curatorial focus at the Morgan.

This exhibition tells how a largely self-taught artist and writer used a series of private letters to develop some of the most vividly depicted animal characters in all of children's literature.

The exhibition will feature nearly one hundred items, drawn primarily from the Morgan's holdings and The Henry W. and Albert A. Berg Collection of English and American Literature at The New York Public Library, two of the most important collections of Poe material in the United States.

Drawn from the Morgan's Ruskin collections, among the world's most comprehensive, the exhibition explored his sweeping impact through drawings, sketchbooks, manuscripts, books, pamphlets, and other objects.

David to Cézanne: Nineteenth-Century French Drawings was the Morgan's first large-scale exhibition of French nineteenth-century drawings from its holdings.

The nineteenth century in Europe saw the rise of plein air painting, in which artists used oil paint while working outdoors.

William Caxton and the Birth of English Printing celebrates this foundational moment in the history of English literature and language.