"These mementos of pre-celebrity days open the exhibition Beat Memories: The Photographs of Allen Ginsberg at New York University’s Grey Art Gallery, and they conjure the group’s bohemian camaraderie. What makes them glow is the gap between the blithe moments when they were taken and the time, decades later, when Ginsberg saw those photographs again."

Compelling photographs taken by renowned 20th-century American poet Allen Ginsberg (1926–1997) of himself and his fellow Beat poets are the subject of the first scholarly exhibition and catalogue of these works. New York University’s Grey Art Gallery will present Beat Memories: The Photographs of Allen Ginsberg, which includes portraits of literary luminaries such as William S. Burroughs, Neal Cassady, Gregory Corso, and Jack Kerouac, on view from January 15 through April 6, 2013. Organized by the National Gallery of Art, Washington, and curated by senior curator of photographs Sarah Greenough, the exhibition features 94 black-and-white works—many accompanied by Ginsberg’s intimate, handwritten captions—that convey the spontaneity, freedom, and exuberant lifestyle of the Beat Generation.

New York University’s Grey Art Gallery is pleased to present the first exhibition to focus on the groundbreaking collaboration between Alfred Barr, the Museum of Modern Art’s first director, and Philip Johnson, its first curator of architecture. On view from September 7 through December 9, 2017, Partners in Design: Alfred H. Barr Jr. and Philip Johnson illuminates the roles played by these two pioneers of international modernism in promoting design and expanding its study to encompass quotidian objects.

"“Partners in Design: Alfred H. Barr Jr. and Philip Johnson,” at the Grey Art Gallery in Washington Square, is the story of two men and a whole country. The men are men of MoMA — the first museum with a curatorial department dedicated to architecture and design, which preached the gospel of the International Style both in New York and via touring exhibitions. The country is the United States — to which they imported, wholesale, a European industrial aesthetic meant to wash away Prairie Style organicism and Art Deco ornament."