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.jpg) The Jewish Museum is housed in theFelix M. Warburg House. | |
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| Established | 1904 |
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| Location | 1109 Fifth Avenue at 92nd Street,Manhattan,New York |
| Coordinates | 40°47′07″N73°57′26″W / 40.78539°N 73.95719°W /40.78539; -73.95719 |
| Type | Art Museum |
| Visitors | 110,000 (2023)[1] |
| Architect | C. P. H. Gilbert |
| Public transit access | Subway:    at86th StreetBus:M1,M2,M3,M4,M86 |
| Website | thejewishmuseum |
TheJewish Museum is anart museum housed at 1109Fifth Avenue, in theFelix M. Warburg House, along theMuseum Mile on theUpper East Side ofManhattan,New York City. The museum holds a collection of approximately 30,000 objects, including religious artifacts, fine art, and media, making it one of the largest museums dedicated to theJewish culture worldwide.[1] The museum is known for its expansive cultural and historical scope, staging art exhibitions that center "Jewish heritage and viewpoints while appealing to broader audiences".[2]
The Jewish Museum originated in 1904 with JudgeMayer Sulzberger's donation of ceremonial objects to theJewish Theological Seminary, later expanded through gifts and works sent for safekeeping fromPoland in 1939 due to the outbreak ofWorld War II. The museum was established in the Warburg family mansion, donated in 1944 by Frieda Warburg, and opened to the public in 1947.[3] Originally designed byC.P.H. Gilbert in thechâteauesque style, the building underwent expansions in 1959 and 1963.
Appointed director in 1972, Joy Ungerleider-Mayerson oversaw the acquisition of 600 ancient artifacts fromIsrael and the 1975 exhibitionJewish Experience in the Art of the 20th Century. UnderJoan Rosenbaum's directorship (1981–2010), introduced new public initiatives—most notably the launch of theNew York Jewish Film Festival in 1992—and completed a major renovation in 1993 byKevin Roche, who added 11,000 square feet and modernized the facilities for exhibitions and education while preserving the building's Gothic revival character. In 2006, the museum adjusted itsSabbath observance policy by opening to the public on Saturdays. In 2011,Claudia Gould was appointed Helen Goldsmith Menschel Director and served in this role until her retirement in 2023. She was succeeded byJames S. Snyder in November 2023.[1]
Throughout its history, the Jewish Museum has made important contributions to the study of modern and contemporary art in the United States. Described as a "leading arbiter of mid-20th-century American art", it played host to the first solo museum exhibitions of paintersHelen Frankenthaler,Kenneth Noland, andAd Reinhardt; introducedJasper Johns to the broader public through the 1957Artists of the New York School: Second Generation;[Note 1] staged the first museum retrospective ofRobert Rauschenberg in 1963; and presented the influential 1966 exhibitionPrimary Structures that helped launchMinimalist sculpture.[4]
The collection that seeded the museum began with a gift ofJewish ceremonial art objects from JudgeMayer Sulzberger to theJewish Theological Seminary of America on January 20, 1904, where it was housed in the seminary's library. The collection was moved in 1931, with the Seminary, to 122nd and Broadway. The Jewish Theological Seminary received over 400 Jewish ceremonial items and created, 'The Museum of Jewish Ceremonial Objects', previously the Jacob Schiff Library.[5] The collection was subsequently expanded by major donations from Hadji Ephraim Benguiat andHarry G. Friedman. In 1939, in light ofWWII, Poland sent about 350 objects to New York city from homes and synagogues in order to preserve them.
Following the death of financier and philanthropist Felix Warburg in 1937, his widow, Frieda Schiff Warburg, donated the family’s Fifth Avenue mansion to the Jewish Theological Seminary in January 1944 for the purpose of housing the Jewish Museum’s growing collection. The museum officially opened to the public in May 1947.[6] At the time of the opening, Frieda Warburg stated that the institution was intended not as a memorial to Jewish suffering, but as a celebration of Jewish culture, history, and tradition.[5]
The museum initially focused on Jewish ceremonial and historical objects, reflecting the seminary’s scholarly orientation and the broader interest in preserving Jewish heritage in the aftermath of World War II.[5] In 1959, the museum added a sculpture garden designed by Austrian-American artist Adam List, offering a new venue for modern sculpture and outdoor exhibitions.[5] This was followed by a significant architectural expansion in 1963, intended to accommodate the museum’s growing collection and public programming, including the museum's Judaica collection.[7] The new addition marked the beginning of a more publicly engaged phase of the museum’s institutional history.[7]
The 1962 appointment of Alan R. Solomon, a Harvard-trained art historian, as the museum's director brought a contemporary vision to the institution. Solomon was oriented toward showing what he called "the new art" and organized major exhibitions of emerging American artists includingRobert Rauschenberg,Jasper Johns, andEllsworth Kelly.[8] His programming emphasized serious engagement with living artists, including mid-career retrospectives—then rare in the museum world—and explored both Jewish content and postwar modernist abstraction.[4] In 1963, he organized Rauschenberg's first retrospective, followed by John's retrospective in 1964.[8] Solomon's brief tenure culminated in a commission from the U.S. government to organize the country's pavilion at the32nd Venice Biennale in 1964, where Rauschenberg's work won the grand prize.[4]
By the mid-1960s, the Jewish Museum had gained significant visibility in the contemporary art world, prompting public interest as well as debate over its institutional identity. In response to growing questions about the museum’s dual mission,The New York Times published a 1965 article discussing its curatorial direction and institutional goals.[7] The article highlighted tensions between the museum’s role as a holder of Judaica and ceremonial objects and its increasing commitment to exhibiting modern and contemporary art—raising broader questions about how these objectives aligned with its affiliation with the Jewish Theological Seminary.[7]
CuratorsSam Hunter andKynaston McShine continued the museum's engagement with contemporary art. McShine, who served as curator from 1965 to 1968, curatedPrimary Structures (1966), a landmark exhibition that introducedMinimalist sculpture to a broad audience and featured artists such asDonald Judd,Dan Flavin, andCarl Andre.[9] In 1968,Karl Katz was appointed as the museum's director. This avant-garde focus peaked with Katz's controversial 1970 exhibitionSoftware, which explored early digital art.[4]
In 1971, the museum, citing financial reasons, made a decision to discontinue "all exhibitions not related to the museum's commitment to the Jewish community".[10] The decision has resulted in Katz's resignation that year.[10] Subsequently, the museum redirected its focus toward Jewish identity and cultural heritage under Joy Ungerleider-Mayerson, who was appointed director in 1972, aligning its programming with broader trends in identity-based museum practice while maintaining its influence in shaping debates around contemporary art and culture.[11] During her tenure, the museum shifted its focus toward Jewish themes and Israeli artists. One of her initial responsibilities as director involved securing a collection of 600 ancient artifacts fromIsrael, and a notable exhibition held under her leadership in 1975 was titledJewish Experience in the Art of the 20th Century.[4]
In 1980, the museum presented Andy Warhol'sTen Portraits of Jews of the 20th Century, a series of 40-inch square silk-screened canvases produced earlier that year. The project, initiated by art dealerRonald Feldman in response to a request from an Israeli dealer for a portrait ofGolda Meir, featured notable Jewish figures such asSigmund Freud,George Gershwin, and Meir herself.[12] The series was highly controversial and widely criticized by art critics at the time; reviewers described it as exploitative and superficial, withThe Philadelphia Inquirer labeling it "Jewploitation" andThe Village Voice andThe New York Times offering similarly harsh assessments.[12] Warhol himself acknowledged minimal engagement with the subjects beyond an aesthetic interest in their faces. Despite the initial controversy, the series was subsequently exhibited in a range of Jewish cultural and synagogues across the United States, often meeting with positive reception.[12]
From 1990 through 1993, directorJoan Rosenbaum led the project to renovate and expand the building and carry out the museum's first major capital campaign, of $60 million. The project, designed by architect Kevin Roche, doubled the size of the museum, providing it with a seven-story addition. In 1992, the Jewish Museum and theFilm Society of Lincoln Center teamed up to create The New York Jewish Film Festival, which presents narrative features, short films and documentaries.[citation needed]
In 1997, curatorNorman Kleeblatt organizedToo Jewish? Challenging Traditional Identities, which examined Jewish identity through the lens of postwar American culture, consumerism, and gender.[13] Featuring works by 23 artists, many of whom were third- or fourth-generation American Jews, the show combined painting, installation, video, and popular media to explore the intersection of stereotypes, assimilation, and self-representation.[13] Although controversial for its provocative content—includingmatzoh-inspired sculptures, reimaginedJewish American Princess stereotype, andgender-bending imagery—the exhibition was noted for expanding the discourse on Jewish identity within the broader framework of identity politics in American art.[14]
Today, the museum also provides educational programs for adults and families, organizing concerts, films, symposiums and lectures related to its exhibitions. Joan Rosenbaum was the museum's director from 1981 until her retirement in 2010. In 2006, the museum broke with its longstanding policy of being closed forSabbath observance by offering free of charge public admission on Saturdays.[15] In 2011 the museum namedClaudia Gould as its new director.
In 2020, the museum commissionedconceptual artistLawrence Weiner to create a public work in the form of a large banner hung on the museum's facade. Facing 5th Avenue, it was titledAll the stars in the sky have the same face, with text in English, Hebrew and Arabic.[16]
In 2022,Yale University historian Michael Casper criticized the museum's exhibition onJonas Mekas for its lack of treatment of Mekas's role in editing two pro-Nazi newspapers during World War II.[17] Cultural historian Jeffrey Shandler told theJewish Telegraphic Agency, "It would be problematic anywhere, in any museum. But I think it is doubly so in a Jewish museum. It really raises questions about their understanding of their mission."[18]
The Russ & Daughters Cafe at the museum closed in 2020 due to theCOVID-19 pandemic in New York City.[19] In November 2024, the restaurateurDavid Teyf opened a restaurant named Lox in the museum.[20][21] The Jewish Museum completed a $14.5 million expansion of the Warburg House's third and fourth floors in October 2025,[22][23] designed by United Network Studio and New Affiliates Architecture.[23][24] The project added the Robert and Tracey Pruzan Center for Learning to the fourth floor,[23] which was opened to the public for the first time.[24] In addition, four galleries were added on the third floor, an existing gallery on the third floor was expanded, and an exhibit about the museum's collection was added to the third floor.[23]
TheFelix M. Warburg House was constructed inFrançois I (orchâteauesque) style, 1906–1908 for Felix and Frieda Warburg, designed byC.P.H. Gilbert. François I style was originally found in New York City in the late 19th century through the works ofRichard Morris Hunt.[25] Hunt was a renowned architect throughout the Northeast, particularly in New England and was one of the first American architects to study at the eliteEcole des Beaux-Arts in Paris, France.[26] C.P.H. Gilbert was an apprentice of Hunt and emulated Hunt's classic Châteauesque style for the Warburg house while also adding someGothic features.[25] The original house is built in limestone with mansard roofs, dripping moldings, and gables.[27] This architectural style was based on French revivalism and exuded wealth, a point which Felix Warburg wanted to make to his neighbors. It featured a green yard in front of the house, which was later converted into the museum's entrance.[5]
Once converted into a museum, the architectKevin Roche, who also designed additions to theMetropolitan Museum of Art, was selected to design additions to the Jewish Museum.[28] After $36 million, the development of 11,000 more square feet of exhibition space, and two and a half years, Roche finished his additions in June 1993.[29] He intended his additions to be a continuation of the museum's Gothic revival features. This is especially clear in the Fifth Avenue facade and the auditorium. The Fifth Avenue facade, made of Indiana limestone, is carved in Gothic revival style. The auditorium is set in a retrofitted Gothic revival style ballroom and finds uses for the mansion's stained-glass dome and screen. The cafe in the basement has stained glass windows.[28]
Although these additions that were intended as a continuation of the museum's Gothic revival features, Roche also included additions that were meant to prevent the museum from appearing outdated and modernizing the facilities. For instance, Roche ensured that the education center and the auditorium would have the appropriate technology for their purposes, such as interactive visual displays.[28]
The museum has nearly 30,000 objects including paintings,sculptures, archaeological artifacts,Jewish ceremonial art and many other pieces important to the preservation ofJewish history and culture.[9] Artists included in the museum's collection includeJames Tissot,Marc Chagall,George Segal,Eleanor Antin andDeborah Kass.[30] This represents the largest collection ofJewish art, Judaica and broadcast media outside ofmuseums in Israel.[29] It has a collection exhibition calledScenes from the Collection, which displays works of art from antiquity to the present. The museum's collection includes objects from ancient to modern eras, in all media, and originated in every area of the world where Jews have had a presence.
The Jewish Museum has a vast array of public educational programs which include talks and lectures, performances, hands on art making, group visits, specialist programming for visitors with disabilities, and resources for Pre-K-12 teachers.[32][33] Programming for visitors with disabilities can take a unique and special form, with exclusive access to the museum one day a month for a program like the Verbal Description Tour.[34][35] Participants are guided around sections of the empty museum by an art educator, who provides detailed, verbal descriptions of the art work, shares touch objects, and encourages discussion amongst the visitors. One participant described the ability to touch the art work as "...an honor, to be able to touch it. It felt like we were doing something so special, that other people can't do. So it actually creates an experience where you feel a connection to the art."[36]
Programming at the Jewish Museum caters for many different constituents, from live musical performances to events specifically curated for children, and families.[37] Events can be co-sponsored or in conjunction with other museums, particularly those located nearby on Fifth Avenue'sMuseum Mile.[38] Part of the goal of family programming is to help foster a younger audience for the museum, with Sunday being "family day", with a variety of activities on offer including gallery tours, free art workshops and parent-children storybook readings. Activities are designed to cross cultures, and explore subjects that can appeal to any race or religion, such as archaeological digs or an examination of color and impressionistic landscapes.[39]
Under Joan Rosenbaum's leadership the museum's collection grew to 26,000 objects, its endowment to more than $92 million and its annual operating budget to $15 million from $1 million in 1981.[40] Rosenbaum chose to emphasize the Jewish side of the museum's identity, creating the permanent exhibition "Culture and Continuity: The Jewish Journey," while also mounting shows of modern Jewish artists such asChaïm Soutine and contemporary artists such asMaira Kalman.[41] In 2013, the museum's board chose Claudia Gould, former director of theInstitute of Contemporary Art, Philadelphia, as its new director.[41]
In 2015 Kelly Taxter was named one of the top 25 female curators in the world byArtnet.[42]
In 2012 Claudia Gould hiredJens Hoffmann Deputy Director, Exhibitions and Public Programs. In December 2017, the Jewish Museum suspended Jens Hoffmann following multiple allegations of sexual harassment by staff members. Several institutions, including the Honolulu Biennial, the Museum of Contemporary Art Detroit, the Kadist Art Foundation, and the Indianapolis Museum of Contemporary Art, subsequently cut ties or suspended their collaborations with him. After reviewing the allegations, the Jewish Museum terminated Hoffmann on December 17, 2017. Hoffmann denied acting in a knowingly inappropriate or harassing manner.[citation needed]
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Some of the museum's important exhibitions have included:
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