Carnegie Museum of Art

05/29/2026

The 2026 Carnegie Museum of Art Film Series, programmed by Kivu Ruhorahoza, kicks off on Thursday, June 11, with a screening of Med Hondo's 1979 West Indies: The Fugitive Slaves of Liberty.

Unfolding almost entirely on a single set shaped like a ship, the film follows the history of Caribbean people from their violent capture in Africa to their forced labor under French colonial rule. Throughout, musical numbers, satirical speeches, and choreographed scenes reveal the continuity between slavery, economic exploitation, and cultural domination.

📅 Thurs., June 11
⏰ 7 p.m.
📍Carnegie Museum of Art
🎟️ $10 ($8 for students)

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Programmed in conjunction with If the word we: 59th Carnegie International, the 2026 Carnegie Museum of Art Film Series gathers films that harness the power of visual poetry to honor and celebrate the human spirit under pressure.

A film by Med Hondo West Indies: The Fugitive Slaves of Liberty (Mauritania, Algeria) unfolds almost entirely on a single set shaped like a ship, which stands in for a slave vessel, plantation, and later a modern industrial complex. The film follows the history of Caribbean people from their violent...

05/27/2026

Artist Cinthia Marcelle explores the forces—seen and unseen—that shape everyday life. In her commission for 59th Carnegie International, Marcelle takes as a point of departure the reconstruction work on Brazil’s National Congress Building following the January 8, 2023, extrajudicial attacks on its Congress—inspired by the January 6, 2021, ransacking of the United States Capitol, which threatened the democratic transition of power.

In Green Hall Annex (2026), Marcelle transforms Carnegie Museum’s Hall of Sculpture with green carpeting drawn from the Congress’s Chamber of Deputies. Visitors can move through the space, where a raised section, supported by tall columns, mirrors the hall’s architecture. From above, a continuous green surface appears. From below, a hidden layer emerges—a collage of documents, images, and texts tracing histories of power, disruption, and rebuilding.

Green Hall Annex invites a closer look at the structures that uphold institutions—and the stories beneath them.

Learn more about If the word we: 59th Carnegie International and to plan your visit online: https://carnegieart.org/

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Installation view of Cinthia Marcelle, Green Hall Annex (2026), in If the word we, 59th Carnegie International, Carnegie Museum of Art, Pittsburgh (May 2, 2026–January 3, 2027); photo: Zachary Riggleman / © Carnegie Museum of Art, Pittsburgh

05/25/2026

On this Memorial Day, we reflect on the sacrifices made by generations of Americans. Iconic Pittsburgh-based photographer Charles “Teenie” Harris’s photo of soldiers in front of Oakland’s Soldiers and Sailors Memorial Hall reminds us of the spirit of today’s holiday.

Active members of the U.S. military receive 50% off admission at all four Carnegie Museums. This discount extends to up to five family members per military ID.

As part of the Blue Star Museums Program, active U.S. military personnel and their families get free admission from Armed Forces Day (the third Saturday of May) through Labor Day.

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Charles “Teenie” Harris, Soldier and Marine saluting on either side of a cannon in front of Soldiers and Sailors Memorial Hall, Oakland, c. 1930–1950, Carnegie Museum of Art, Heinz Family Fund

05/24/2026

New Summer Hours! ☀️

Carnegie Museums of Art and Natural History are open seven days a week now through Labor Day, including the Memorial Day holiday.

Visit us:
Friday–Wednesday: 10 a.m.–5 p.m.
Thursday: 10 a.m.–8 p.m.

05/21/2026

Reina Sugihara searches for ways to think through largely unseen, intangible, and unconscious systems and processes as painting. Beginning with metaphors and associative objects—sometimes small tokens she returns to—her methodical process unfolds in layers that obscure and inform one another.

Painting a canvas over many months and often years, the artist returns to it only after losing memory of the thoughts and feelings that guided her preceding session.

On view at Carnegie Museum of Art in If the word we: 59th Carnegie International, these recent paintings trace connections between internal systems, perception, and shared symbols—exploring how what feels private can also be collective, and how meaning remains recognizable, yet never fixed.

Learn more about the 59th Carnegie International and to plan your visit online: https://carnegieart.org/exhibition/59th-carnegie-international/

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[1] Installation view of Reina Sugihara, Condition for Green (2026), in If the word we, 59th Carnegie International, Carnegie Museum of Art, Pittsburgh (May 2, 2026–January 3, 2027); Courtesy the artist and MISAKO & ROSEN, Tokyo, and Arcadia Missa, London; photo: Zachary Riggleman / © Carnegie Museum of Art, Pittsburgh

[2] Installation view of Reina Sugihara, Within (2026), Field (2025), and Gather (2023), in If the word we, 59th Carnegie International, Carnegie Museum of Art, Pittsburgh (May 2, 2026–January 3, 2027); Courtesy the artist and MISAKO & ROSEN, Tokyo, and Arcadia Missa, London; photo: Zachary Riggleman / © Carnegie Museum of Art, Pittsburgh

[3] Installation view of Reina Sugihara, Untitled (2025), in If the word we, 59th Carnegie International, Carnegie Museum of Art, Pittsburgh (May 2, 2026–January 3, 2027); Collection of Michael Xufu Huang ; photo: Zachary Riggleman / © Carnegie Museum of Art, Pittsburgh

05/18/2026

In Justiça (2026), Ana Raylander Mártis dos Anjos transforms confiscated and improvised weapons into a suspended landscape of silhouettes overhead. What emerges is a powerful reflection: who gets to define justice, and who is permitted to enact violence?

“White weapons” are everyday objects—pocketknives, screwdrivers—reframed here by the artist as symbols of power, control, and the fragile line between justice and coercion.

Drawing on realities in Brazil and beyond, the installation points to a broader system where objects can be criminalized, planted, or circulated—shaping lives and reinforcing inequality. Heavy chains stretch across the gallery, evoking the oppressive weight of these systems, while the placement of each object disrupts familiar hierarchies and invites reconsideration.

Encounter the work in the Heinz Architectural Center as part of the 59th Carnegie International. Learn more and plan your visit online: https://carnegieart.org/exhibition/59th-carnegie-international/

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Installation view of Ana Raylander Mártis dos Anjos, Justiça (Justice) (2026), in If the word we, 59th Carnegie International, Carnegie Museum of Art, Pittsburgh (May 2, 2026–January 3, 2027); Courtesy of the artist and Yehudi Hollander-Pappi; Commissioned by Carnegie Museum of Art for 59th Carnegie International; photo: Zachary Riggleman / © Carnegie Museum of Art, Pittsburgh

05/15/2026

What will be considered artifacts in the future?

Visual artist, set designer, and draftsman Abraham González Pacheco’s Orogenic (2026), commissioned for the 59th Carnegie International, imagines a speculative history built from myth. Composed of concrete and pigment panels, these towering murals greet visitors at the Forbes Avenue entrance, wrapping the existing columns and walls of the Fountain Plaza.

With textured, weathered surfaces that echo ruins or archaeological fragments, the work feels unearthed—remnants of a society that struggled to endure but ultimately vanished. Pacheco’s practice centers on worldbuilding, blending painting, sculpture, and drawing to create vivid scenes that carry layered, imagined histories.

Assuming the role of archaeologist, he constructs objects that question what it means to be human amid global turbulence, institutional corruption, and rapidly shifting cities. With Orogenic, Pacheco fills the gaps left by official histories—an impulse rooted in the absence of a recorded archive in his hometown of San Simón el Alto in the southern State of Mexico.

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Installation view of If the word we, 59th Carnegie International, Carnegie Museum of Art, Pittsburgh (May 2, 2026–January 3, 2027), featuring work by Abraham González Pacheco; photo: Zachary Riggleman / © Carnegie Museum of Art, Pittsburgh

05/13/2026

“It takes a lot to soar, and we cannot do it alone. That is the message to be gained from this year’s lush and quietly astonishing edition of the Carnegie International.” —Alex Greenberger, ARTNews

In case you missed it, ARTnews recently published a review of If the word we: 59th Carnegie International, lauding the exhibition as “one of the most ambitious and resonant editions in recent memory.”

Read the full review, and be sure to plan a visit to the museum soon to experience the exhibition for yourself: https://www.artnews.com/art-news/reviews/carnegie-international-2026-review-1234784979/

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Installation view of Silät, Tewok: the river we weave (2026), in If the word we, 59th Carnegie International, Carnegie Museum of Art, Pittsburgh (May 2, 2026–January 3, 2027); photo: Zachary Riggleman / © Carnegie Museum of Art, Pittsburgh

05/10/2026

💐 On this Mother’s Day, we’re celebrating moms and mother figures everywhere with Mom’s Pots, a painting by Hugh Kepets from our collection.

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Hugh Kepets, Mom‘s Pots, 1973, Carnegie Museum of Art, gift of Michael Berger, © Hugh Kepets / Artists Rights Society (ARS), New York

05/04/2026

If the word we: 59th Carnegie International is now open!

Organized every four years by Carnegie Museum of Art, the Carnegie International is the longest-running exhibition of international art in North America. The 59th edition is the most collaborative and far-reaching to date—a clear expression of the museum’s founding commitment to the art and artists of our time, at once grounded in our locality and extending globally.

Across a wide range of media, from painting, photography, and sculpture, to installation, video, performance, and theater, the more than 60 participating artists and collectives traverse cultural, political, intellectual, and spiritual geographies that extend beyond national boundaries.

Learn more and plan your visit: https://carnegieart.org/exhibition/59th-carnegie-international/

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If the word we: 59th Carnegie International is presented by Bank of America

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Installation views of work by Firman Ichsan, Cinthia Marcelle, and Eric Gyamfi; photos: Zachary Riggleman