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The Whitney Museum of American Art in New York opened its new retrospective, “Roy Lichtenstein: Like New,” today. The exhibition is the first major Lichtenstein show in a New York museum in 33 years, following the Guggenheim retrospective of 1993. Running until 10 May 2027, the show brings together more than 130 works created between the 1940s and the 1990s. Among them are eight paintings from Lichtenstein’s historic 1962 debut at the Leo Castelli Gallery, reassembled for the first time since that exhibition. Several of those pieces had not been publicly displayed in New York for decades. The exhibition is curated by Meg Onli, Whitney curator, together with invited curator Alex Da Corte. It explores Lichtenstein’s long‑term career, focusing on themes of copying, perception, simulation, authorship and image culture. The curators present a new reading of the artist, portraying him not only as a pop‑art icon but also as a visionary thinker who anticipated the era of endlessly copied and redistributed images long before smartphones and social media. At a press conference on 7 October, Whitney director Scott Rothkopf described the retrospective as a “once in a generation” event, recalling the last major Lichtenstein show in New York in 1993. The opening follows the announcement of a potential museum union strike, which was averted after the contract was ratified earlier in the month. In addition to “Like New,” the Whitney continues to host the “Roy Lichtenstein: 1997” exhibition, which will remain on view until 1 June 2027. Together, the two shows underscore a significant moment for the artist’s legacy at the museum. Article source: 24 Orë | Image credit: 24 Orë
The Whitney Museum of American Art in New York opened its new retrospective, “Roy Lichtenstein: Like New,” today. The exhibition is the first major Lichtenstein show in a New York museum in 33 years, following the Guggenheim retrospective of 1993. Running until 10 May 2027, the show brings together more than 130 works created between the 1940s and the 1990s. Among them are eight paintings from Lichtenstein’s historic 1962 debut at the Leo Castelli Gallery, reassembled for the first time since that exhibition. Several of those pieces had not been publicly displayed in New York for decades. The exhibition is curated by Meg Onli, Whitney curator, together with invited curator Alex Da Corte. It explores Lichtenstein’s long‑term career, focusing on themes of copying, perception, simulation, authorship and image culture. The curators present a new reading of the artist, portraying him not only as a pop‑art icon but also as a visionary thinker who anticipated the era of endlessly copied and redistributed images long before smartphones and social media. At a press conference on 7 October, Whitney director Scott Rothkopf described the retrospective as a “once in a generation” event, recalling the last major Lichtenstein show in New York in 1993. The opening follows the announcement of a potential museum union strike, which was averted after the contract was ratified earlier in the month. In addition to “Like New,” the Whitney continues to host the “Roy Lichtenstein: 1997” exhibition, which will remain on view until 1 June 2027. Together, the two shows underscore a significant moment for the artist’s legacy at the museum.
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