List of selected artworks. Maps for the tour in the museum





  • Anne-Marie Schneider. Untitled, 1996-1997. Charcoal on paper. Fonds régional d'Art contemporain Provence-Alpes-Côte d'Azur. Inv: 2005.512
    November 16, 2016 - March 20, 2017

    The line is the primary formulation in the imaginary of Anne-Marie Schneider (Chauny, France, 1962), in which autobiographical activity also has a strong presence. The line refers to gestural writing and gives shape to the enigmatic world of personages whose bodies are often taken apart and fitted back together in fragments, prolonged in domestic space and projected on to the landscape.

  • Lothar Baumgarten. Photography. The ship is going under, the ice is breaking through, 2001
    3 november, 2016 - 16 april, 2017

    Lothar Baumgarten

    The ship is going under, the ice is breaking through

    Lothar Baumgarten (Rheinsberg, Germany, 1944) was educated at the Staatlichen Akademie für bildende Künste, Karlsruhe (1968), and the Staatlichen Kunstakademie de Düsseldorf (1969–71), where studied under Joseph Beuys, an event that would have a strong influence on his artistic career.

  • João Maria Gusmão and Pedro Paiva, Maça de Darwin, macaco de Newton, 2012
    October 26, 2016 - March 13, 2017

    Territories and Fictions

    Thinking a New Way of the World

    This presentation of holdings from the Museo Reina Sofía Collection, largely made up of recent acquisitions, approaches the languages and artistic practices that defined the period between the end of the 1990s and 2007 – both in Spain and internationally - by way of a series of shared questions that heralded the start of the century and run up to the present time.

  • Exhibition view. Marcel Broodthaers, 2016
    October 5, 2016 - January 9, 2017

    Marcel Broodthaers

    A Retrospective

    The Museum of Modern Art, New York, and the Museo Reina Sofía have organised one of the most comprehensive retrospectives devoted to Belgian artist Marcel Broodthaers (1924–1976). His remarkable output in the 1960s and 1970s established him as one of the most important artists on the international scene, and one of the most influential for numerous contemporary artists from that time to the present day.

  • A still from The Uncorrupted, Tamar Guimarães. Film, 2016
    September 28, 2016 - March 13, 2017

    Tamar Guimarães

    The Uncorrupted

    Program: Fisuras

    Tamar Guimarães (Belo Horizonte, Brazil, 1967) will present a project, designed specifically for the Fisuras (Fissures) programme, in the Museo Reina Sofía. The artist’s work spans the fields of installation, film and sound.

  • Txomin Badiola. Bañiland 6, 1990-1992. Painting, wood, construction, plastic and serigraphy. A. Trullenque Collection
    September 23, 2016 - February 26, 2017

    Txomin Badiola

    Another Family Plot

    The retrospective by Basque artist Txomin Badiola (Bilbao, 1957), housed in the Palacio de Velázquez, presents a broad selection of his output – photographic works, drawings, sculptures and multimedia installations – spanning from the 1980s to the present day.

  • Daniel Buren, Les Écrits (1965-1990), Bourdeaux: CAPC musée d’art contemporain, 1991. Museo Nacional Centro de Arte Reina Sofía. Photo: Centre for Artists’ Publications, Weserburg, Bremen. © DB – VEGAP, Madrid, 2016
    September 21, 2016 – May 22, 2017
    Program: Biblioteca y Centro de Documentación

    I Am Also not a Book is the title of the last part of a trilogy of exhibitions which includes It is not new, it is a book (from September, 2014 to May, 2015) and I call them simply books (from May to October, 2015). On this occasion, the title refers to the 1973 work by John M. Belis, I Am Also not a Book, which consists of a card with the sentence “Attach this card to any book-type object and it will become a genuine John M. Belis,” and which can indeed be affixed to any book-shaped object.

    Biblioteca y Centro de Documentación
  • Exhibition view. Damián Ortega. The Rocket and the Abyss, 2016
    May 5 - October 2, 2016

    Damián Ortega

    The Rocket and the Abyss

    Damián Ortega (Mexico City, 1967) started out as a newspaper cartoonist in the 1980s, approaching the political scene with acerbic wit. His artistic concerns shifted when he joined the Taller de los Viernes (Friday Workshop) in Tlalpan (active from 1987 to 1992), a self-styled school and the place where he would come into contact with a creative community that was both diverse and an alternative to the dominant reactionary muralism in Mexico at the time. It was in this milieu that he realised his first sculptures, continuing the ironic tone from his previous profession.

  • Exhibition view.  Campo Cerrado. Spanish Art 1939–1953
    April 26 - September 26, 2016

    Campo Cerrado

    Spanish Art 1939–1953

    The exhibition Campo Cerrado takes its name from the homonymous novel by Max Aub and looks to examine Spanish art in the complex and controversial 1940s, a decade that has received little attention and one that exists in a critical and historiographical vacuum, despite its importance in structuring modern sensibility in Spain.

  • Exhibition view. Erlea Maneros Zabala, 2016
    April 19 – August 29, 2016
    Program: Fisuras

    The work of Erlea Maneros Zabala (Bilbao, 1977) analyses the conditions and effects of image production, addressing the contexts generated and the modes of distribution. The issues raised by her work can be found in the academisation of languages of abstraction, the notion of authorship and the relationships established between handicrafts and mass production through the use of mechanical resources in production processes.

  • C.A.D.A. (Colectivo Acciones de Arte). ¡Ay Sudamérica!, 1981. Museo Nacional Centro de Arte Reina Sofía © 2016 Archivo y obra C.A.D.A.
    April 12 - September 13, 2016

    This exhibition brings together an extensive selection of materials from the C.A.D.A. Archive and Work, recently acquired by the Museum on the basis of the dialogue with the artists who conserve the original material, Lotty Rosenfeld and Diamela Eltit, and the researches of the Red de Conceptualismos del Sur, besides other complementary materials.

    Biblioteca y Centro de Documentación
  • Wifredo Lam. Umbral (detail), 1950. Centre Pompidou, Musée national d’art moderne, Paris, State adquisition, 1969 © Archivo SDO Wifredo Lam
    April 6 - August 15, 2016

    The retrospective on Cuban painter Wifredo Lam (Sagua La Grande, 1902 – Paris, 1982), organised by the Centre Pompidou, Museo Reina Sofía and Tate Modern, acknowledges the common desire to consider modernity in all its complexity and endeavours to redefine Lam’s work inside a history of international art in which he stands as a key figure.

  • Exhibition view. Rémy Zaugg. The Question of Perception, 2016
    March 31 - August 28, 2016

    Rémy Zaugg

    The Question of Perception

  • Mail Art and the Big Monster (detail), 1977
    March 16 - October 10, 2016

    Ulises Carrión

    Dear reader. Don’t read

    The retrospective devoted to Ulises Carrión (San Andrés Tuxtla, Veracruz, Mexico, 1941 – Amsterdam, 1989) explores his multifaceted artistic and intellectual work. It spans his beginnings as a young, successful and well-respected writer in Mexico, his spells in France, Germany and England between 1964 and 1972, when he sharpens his resolve to innovate in language, ending at the time he definitively settles in Amsterdam, the place where he realises a wide array of artistic, literary and cultural activation activities.

  • Alexandre Estrela. Pockets of Silence, 2015
    December 16, 2015 – March 28, 2016

    Alexandre Estrela

    Pockets of Silence

    Program: Fisuras

    Alexandre Estrela (Lisbon, 1971) uses film and video as the core mediums in his artistic practice, which questions the materiality of the image, dialoguing with a history of experimental film, video and photography, which finds some of its symbolic evidence in the films of Marcel Duchamp, in photographs by Man Ray or cut-up narratives from Burroughs, for example.

  • Juan Giralt. Zumo de limón, 2006.  Acrilic and collage on canvas. Private Collection. Image: Juan Giralt Ortiz, VEGAP, Madrid, 2015
    December 2, 2015 - February 29, 2016

    The work of Juan Giralt (Madrid, 1940–2007) was initially self-taught in the Informalism that predominated the 1950s. During 1970s and 1980s his new interpretation of figurative painting, turning him into a reference point of New Figuration in Madrid.

  • Andrzej Wróblewski, Szofer (Szofer niebieski) [Chauffeur (Blue Chauffeur)], 1948, Private collection, Warszaw  © Courtesy Andrzej Wróblewski Foundation
    November 17, 2015 - February 28, 2016

    Andrzej Wróblewski

    Recto / Verso

    Andrzej Wróblewski (1927–1957) is, despite his short life, one of the most important Polish artists of the 20th century. This exhibition, the first retrospective held outside his country, enables his work to be contemplated in a way that goes beyond the reductionist clichés of socialist realism.

  • Hito Steyerl. How Not to Be Seen: A Fucking Didactic Educational.MOV File, 2013*
    November 11, 2015 - March 21, 2016

    Hito Steyerl

    Duty-Free Art

    Regarded as one of the most relevant contemporary artists in the field of Video art, Hito Steyerl (Munich, 1966) approaches current themes in her work, for instance the impact the proliferation of images and the use of the Internet and technology have on our lives.

  • Ignasi Aballí Mapamundi 2010, 2011. Collage on paper, 30 x 21 cm each one (110-115 copies approx.). Artist’s collection
    October 28, 2015 - March 27, 2016

    Ignasi Aballí

    without beginning / without end

    In October the Museo Nacional Centro de Arte Reina Sofía will present an exhibition devoted to Ignasi Aballí (Barcelona 1958). The output of this Catalan artist offers a conceptual reflection on the representation and perception of mediums such as painting, the object or photography.

  • Constant Rode sector, 1958. © Constant, VEGAP, Madrid, 2015
    October 21, 2015 - February 29, 2016


    New Babylon

    Constant (Constant Anton Nieuwenhuys, Amsterdam, 1920 – Utrecht, 2005) realised scale models, paintings, drawings and collages displaying his concept of a nomad city of the future – New Babylon – a complex and expansive labyrinth that transformed the whole world into one sole network.

  • Marcel Broodthaers. Fig 1. Mönchengladbach, Städtisches Museum Mönchengladbach, 1971. Institut für Auslandsbeziehungen collection e. V., Stuttgart / Centre for Artists’ Publications, Weserburg, Bremen. © Marcel Louis Jean Broodthaers, VEGAP, Madrid, 2015
    October 15, 2015 - April 4, 2016

    More than a catalogue

    The catalogue-boxes of the Museum Abteiberg-Mönchengladbach (1967-1978)

    By virtue of the renewed conceptions of art which developed in the 1960s and 1970s, museums were forced to renovate their way of presenting art works, and also their idea of what art publications could be.

    Biblioteca y Centro de Documentación
  • Exhibition view. Danh Vō. Banish the Faceless / Reward your Grace, 2015
    October 1, 2015 - April 4, 2016

    Danh Vō

    (Banish the Faceless / Reward your Grace)

    Danh Vō’s  (Bà Ria, Vietnam, 1975) art work subverts and plays with classic appropriation and opportunistic strategies of Western art in its approach to other cultures. His installations, sculptures, photographs and works on paper, particularly his early work, often calls on his origins and experiences, interspersing them with cultural, social, and historical references.

  • Mohamedi, Nasreen. Untitled, Ca. 1970. Ink and graphite on paper, 47,4 x 47,4 cm. KIRAN NADAR MUSEUM OF ART
    September 23, 2015 - January 11, 2016

    Nasreen Mohamedi

    Waiting Is a Part of Intense Living

    Nasreen Mohamedi (Karachi, 1937 – Baroda, 1990) was one of the first Indian artists to embrace abstraction, moving away from the more conventional doctrines of Indian modern art in the early decades of the 20th century. She chose non-figuration, an artistic practice marginalised at that time by independent India, which was essentially dominated by an anthropomorphous aesthetic and academic realism determined by art schools from the colonial period.   

  • Exhibition view. Ree Morton. Be a Place, Place an Image, Imagine a Poem, 2015
    May 20 - September 28, 2015

    Ree Morton

    Be a Place, Place an Image, Imagine a Poem

    The work of Ree Morton (Ossining, NY, 1936 – Chicago, 1977) can be found in the specific art scene in the USA around 1970, characterised by a strong reaction to Abstract Expressionism, in what Lucy Lippard defined as “Eccentric Abstraction”.

  • Jean François Bory. Post-scriptum. Paris, Eric Losfeld éditeur, 1970 © Jean François Bory, VEGAP, Madrid, 2015
    May 18 - October 9, 2015

    The exhibition I call them simply books, devoted to the «book as book», can be seen as part two of the previous one It is not new, it is a book, that it was a purely conceptual approach to the book. The title is a quotation by Peter Downsbrough, an American artist who has published numerous «books» since 1972.

    Biblioteca y Centro de Documentación
  • Exhibition view. Carl Andre. Sculpture as Place, 1958-2010, 2015
    May 5 - October 12, 2015 Palacio de Velázquez. Parque del Retiro

    Carl Andre

    Sculpture as Place, 1958-2010

    Carl Andre. Sculpture as Place, 1958-2010 offers an in-depth study of a crucial period in contemporary art by virtue of the work of Carl Andre. The artist’s oeuvre falls under the categories of Minimalism, Land Art and Conceptual Art, reflecting the formal concerns of his epoch.

  • Vista de sala de la exposición. Federico Guzmán. Tuiza. Las culturas de la jaima, 2015
    April 16 – August 30, 2015

    Federico Guzmán

    Tuiza. The Cultures of the Bedouin Tent

    Actively working since the mid 1980s, Federico Guzmán (Seville, 1964) has always viewed artistic practice as a commitment to his environment. His spells in New York and Bogotá at the end of the 1990s lead him to lay great emphasis on this idea as he became particularly aware of art as a tool for social change, as well as understanding the figure of the artist and seeing his work as something inextricably linked to the context he lived in.

  • Paul Klee. Baldgreis, 1922. Oil on cardboard, 40.3 x 37.4 cm. Kunstmuseum Basel © Kunstmuseum Basel
    March 18 - September 14, 2015

    White Fire

    The Kunstmuseum Basel Modern Collection

    The Kunstmuseum Basel is considered one of the finest public municipal museums in the world. The two cornerstones of its collection are the works dating from the 15th and 16th centuries, on one side, and artworks from the 19th century to the 21st , on the other, with the ensemble of the latter making it one of the most significant collections of contemporary art in Europe.

  • Pablo Picasso. Buveuse d’absinthe (The Absinthe Drinker), 1901. Oil on canvas, 81 x 60 cm. Im Obersteg Foundation, permanent loan to the Kunstmuseum Basel. Photography: Mark Gisler, Müllheim
    March 18 - September 14, 2015

    Collectionism and Modernity

    Two Case Studies: The Im Obersteg and Rudolf Staechelin Collections

    It was not the work of artists, critics and curators alone that made the development of modern and contemporary art possible. Another factor related to both economic and social concerns intervened as a catalyst in the process. This was art collecting.

  • Exhibition view. Not Yet. On the Reinvention of Documentary and the Critique of Modernism, 2015
    February 11 - July 13, 2015

    Not Yet

    On the Reinvention of Documentary and the Critique of Modernism

    Not Yet. On the Reinvention of Documentary and the Critique of Modernism sets out from the re-discovery of the Worker-photography movement of the 1920s and 1930, but within the social and intellectual context after 1968 and the new urban struggles.

  • Daniel García Andújar. Estamos vigilando, 1994. Intervention in public space, image of La Concha beach in San Sebastián, Spain. Variable dimensions. Courtesy of the artist
    January 21 - May 4, 2015

    Daniel G. Andújar

    Operating System

    Through interventions in public space and a critical use of digital media and the communication strategies of the corporations connected to it, the theoretical and artistic work developed by Daniel G. Andújar (Almoradí, Alicante, 1966) oscillates between territories that are real (the city) and virtual (the Net). He sets out from the premise that when displaying/dissecting the connections found between both, the inequalities that generate social and power relations are envisaged in a context like the current one.

  • Exhibition view. Luciano Fabro, 2014
    November 27, 2014 - April 12, 2015

    This exhibition, the first retrospective devoted to the artist since his death, assembles over fifty works that reflect the audacity, strength and complexity of Fabro's work; a body of work that is key to gaining an understanding of the new roads contemporary sculpture has travelled down.

  • Janet Cardiff & George Bures Miller. The Marionette Maker, 2014
    November 19, 2014 - March 16, 2015

    Through the critical and experimental use of sound and voices combined with diverse narrative, scenic and visual elements, Canadian artists Janet Cardiff and George Bures Miller create engulfing, multi-sensorial installations that explore how our perception of reality is shaped and obstructed.

  • Mathias Goeritz, La serpiente de El Eco, variant, 2010-2011. Assembled cardboard and polychrome, 11.5 x 32 x 9.5 cm. Private collection, Madrid
    November 12, 2014 - April 13, 2015

    This exhibition represents an approach to the work of Mathias Goeritz (Danzig, 1915 – Mexico City, 1990), produced after he settled in Mexico in 1949.

  • Patricia Gadea. Untitled. Serie Circo, 1992. Mixed media and collage on cardboard and canvas. 146 x 97 cm. Private collection
    November 5, 2014 - January 5, 2015

    Patricia Gadea


    Atomic-Circus is the first retrospective devoted to the work of artist Patricia Gadea (Madrid, 1960 – Palencia 2006), a key figure in the revival of Spanish painting in the 1980s and 1990s. Her painting emerged at a time of experimentation with freedom, sheltered by the movida cultural movement in Madrid and an atmosphere of euphoria brought about by democratic change.

  • Adelita Husni-Bey, Postcards from the Desert Island, 2010-2011. Kaddist Art Foundation Collection
    October 29, 2014 - February 9, 2015

    The exhibition endeavours to position the notion of critical pedagogy as a crucial element in collective struggles, and explore the tension between individual and social emancipation through education with examples that are both historical and current.

  • Juan Luis Moraza. Endscape (oppenheimereinstein), 2013. Stainless steel, wood. Collection of the author
    October 15, 2014 - March 2, 2015

    republic is an exhibition by Juan Luis Moraza (Vitoria, 1960), assembling a broad selection of his works and structuring them in areas that examine the museum as a system of conventions and possibilities of citizenship.

  • Robert Filliou. Livre-étalon / Standard-book, 1982. Museo Nacional Centro de Arte Reina Sofía. © 2014 Estate of Robert Filliou
    September 23, 2014 - May 13, 2015

    It is not new, it is a book, a quotation by Jacques Louis Nyst, is the title of the first in a series of exhibitions to be presented in the Library and Documentation Centre of the Reina Sofía Museum. The aim of this series is to present every aspect of the artists’ book. Both individual and thematic exhibitions are programmed.

    Biblioteca y Centro de Documentación
  • Richard Hamilton. Just what is it that makes today’s homes so different, so appealing?, 1956/1992. Collage. 26 x 25 cm. Private Collection. © R. Hamilton. All Rights Reserved, VEGAP, Madrid, 2014
    June 27 - October 13, 2014

    By virtue of more than 250 works produced between 1949 and 2011, this exhibition offers a comprehensive retrospective look at the work of Richard Hamilton (London, 1922 – 2011), a key figure in Pop Art and one of the most influential British artists of the 20th century.

  • Kerry Jame Marshall. Lost boys AKA Black Johnny, 1993. Courtesy of the artist. Jack Shainman Gallery, NY, and Koplin Del Rio, CA
    June 13 - October 26, 2014

    Kerry James Marshall: painting and other stuff is the first major presentation in Europe of the work of this American artist (Birmingham, Alabama, 1955).

  • Collection Palabra e Imagen, published by the Lumen publishing house between 1961 and 1975
    May 28, 2014 – January 5, 2015

    The Exhibition photobooks. Spain 1905-1977 presents a journey through the history of the photobook in Spain, setting off at the beginning of the 20th century and ending in the mid seventies, via a selection from the Museo Reina Sofía Collection, contextualised and accompanied by an assortment of complementary material.

  • Palle Nielsen, A group of activists from different organisations in Denmark cleared a backyard in Stengade 52 in the area Nørrebro in Copenhagen the 31 of March 1968 and build a playground for the children instead. This was done to create attention of the lack of playgrounds as well as an overall redevelopment of the area. © VEGAP, Madrid, 2014 © PETERSEN ERIK / Polfoto
    April 30 – September 22, 2014


    Reinventing the Square

    The exhibition uses the term playground to propose a historical-artistic look at play areas and their socializing, transgressive and political potential, from the beginning of modernity to our day.

  • Exhibition view. Time and Things. The Home Studio of Hanne Darboven, 2014
    March 26 – September 1, 2014

    Hanne Darboven’s home studio forms the starting and arrival point of her work, both materially and conceptually; a key part of her legacy and essential to her oeuvre.

  • March 13 – October 19, 2014
  • Wols. Composition, 1941-1942. Pen, ink with color on paper. 20 x 12,8 cm. The Menil Collection, Houston. Photographer: Paul Hester
    February 13 - May 26, 2014

    The exhibition focuses on the “abstract” ouvre by Wols produced since the Second World War and in the photographs taken shortly before the war. “The street” and “the cosmos” are an original key reading of Wols’ work, whose contribution to twentieth-century art is yet to be fully recognized.