Exhibitions

Upcoming Exhibitions

Over the course of a year, a group of talented artisans in Yautepec created an intricately beaded and feathered costume known as a Chinelo as a gift to members of the Mexican diaspora in the Twin Cities. The suit, titled Immigrants, celebrates working people across national borders and highlights the essential contributions of Mexican workers in North America.
As a form of artistic resistance that emerged during the colonial period, Chinelos also embody cultural resilience. Blending Catholic and Indigenous visual traditions, elaborately masked Chinelo dancers could anonymously mock—especially during Carnival celebrations—the governing authority of European colonizers. Today, Chinelos are a popular feature of Independence Day and Carnival celebrations throughout the Mexican state of Morelos, parts of the State of Mexico, and Mexico City, especially in the boroughs of Milpa Alta, Tlalpan, Xochimilco, and Magdalena Contreras.
Through the efforts of artist and educator Xavier Tavera and the collective generosity of the artisans of Morelos, Immigrants entered Mia’s collection in 2025, ensuring future public appreciation of this one-of-a-kind work of art.

Related Events 

colorful mosaic illustrating a variety of workers engaged in different activities, including construction, food service, and agricultural work.

“Immigrants”: A Gift from Morelos to Mia

In the 1957 movie Funny Face, Audrey Hepburn tells Fred Astaire, whose character is based on the photographer Richard Avedon, to “Take the picture! Take the picture!” This memorable scene homes in on the importance of the sitter and photographer relationship in determining when the moment is just right to take a photograph.
This exhibition draws mainly from Mia’s photography collection and from across the medium’s history to explore different types of portraiture. The selection includes artworks in which performance, collaboration, and experimentation are at the core of their making—and others when chance proves pivotal to depicting someone’s likeness.

Black and white photo of a dresser with a portrait, bottles, and figurine

Take the Picture!

In &#8220;María Berrío: Songlines,&#8221; the Colombian artist builds monumental scenes by layering hand-cut Japanese paper onto canvas—constructing images mostly piece by piece with rare areas of painting. Figures and forms emerge through this meticulous process, creating dense compositions that shift between precision and abstraction. Bringing together close to 20 works from the past decade, the exhibition traces how Berrío draws on literature, music, and global histories to create symbolic, open-ended narratives.
&#8220;María Berrío: Songlines&#8221; is organized by the Minneapolis Institute of Art and San José Museum of Art.
Generous support for the national exhibition tour provided by Hauser &amp; Wirth and Victoria Miro. Mia&#8217;s presentation made possible with kind support from iArtis Foundation and Maria G Bales.

Related Events

Painting of group of people gathered indoors, seated on chairs arranged in a circle. In the foreground, a person in a blue dress with intricate patterns and a fur collar lies back on an armchair, eyes open. To the left, a person bends over a container, preparing something. Several other individuals sit closely together, some holding papers and others interacting or playing games.

María Berrío: Songlines

How can a life in art help one to heal from generational trauma? In his landmark exhibition and feature-length film “Exhibiting Forgiveness,” celebrated contemporary artist Titus Kaphar draws upon his early life and coming of age to create a transmedial and deeply personal response to that question.
Through a selection of paintings made specifically for the film, this exhibition focuses upon essential moments in Kaphar’s storyline to immerse visitors in a process of recognition, understanding, and acceptance that parallels his character’s journey to adulthood within the film.

Large painting of a house with a figure of a child pushing on its edge.

2026.16a,b

Exhibiting Forgiveness

Come enjoy crop art without the crowds! The Great Minnesota Get-Together returns to Mia in 2026 as curators once again pick outstanding pieces from the Minnesota State Fair’s beloved crop art showcase.
Expanding on last year’s celebration, this exhibition presents more than 20 works by crop artists, featuring the five that earned the coveted “Best in Show” ribbons.

Mia is heading to the 2026 Minnesota State Fair to select works for this exhibition. Learn more about <a href="https://www.mnstatefair.org/competitions/ag-hort-bee/crop-art-and-scarecrow" target="_blank" rel="noopener">Mia’s sponsored awards</a> and submit your artwork for consideration by Thursday, August 27, 2026.
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Collage of crop art from the 2025 Minnesota State Fair.

Cream of the Crop: The Second Harvest

Step into Parisian luxury at Mia. &#8220;Paris Couture&#8221; brings more than 80 haute couture masterpieces from the Palais Galliera, spanning the late 19th century to today.
The exhibition features icons such as Dior, Balenciaga, Schiaparelli, and Grès. Together, these extraordinary garments show couture as one of the great art forms of the modern era. You’ll see imagination matched with flawless technique and lavish materials. Get close to the details and discover how couture ateliers transformed dressmaking into high art.
The galleries create an immersive, opulent experience built for shared wonder and slow looking. It’s an ideal evening or weekend outing—only at Mia for a limited time.
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Join fellow art enthusiasts and tastemakers for an unforgettable after-hours party in the galleries celebrating the opening of the exhibition.
Saturday, October 3 
8–11:30 p.m.
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Vintage floral gown with puffed sleeves on a mannequin.

Paris Couture

Skulls and skeletons are a popular subject in Japanese art. They appear in paintings, prints, and book illustrations as secondary elements but also as primary subjects, especially with the increased understanding of anatomy in the 19th century.
This exhibition shows skeletons in a life-like, humorous manner, exhibiting a playfulness to the usually terrifying and haunting nature of skeletons. The highlight is the recently acquired pair of six-panel folding screens by Takeuchi Ryūa, a truly memorable and unique work of skeletons at play.

Skeletons with plants and lanterns on a textured background.

Bare Bones: Skeletons in Japanese Art

For many Japanese artists, the process of conceptualizing and producing an artwork underwent fundamental, widespread change after the end of World War II in 1945. The strong emphasis on continuity was abandoned by some in favor of a radical new path, previously unheard of, especially in the crafts section.
The birth of an avant-garde and formal declaration for innovations is notable throughout different media. One approach for avant-garde artists was to create sculptures instead of functional objects. In 1948, a group of five ceramic artists, among them Yagi Kazuo (1918–1979), Yamada Hikaru (1923–2001), and Suzuki Osamu (1926–2001), founded Sōdeisha, literally the Crawling through Mud Association. The Sōdeisha group was active until 1998. While more than 60 artists were members at some point, not every ceramic artist who created innovative sculptures joined. Artists like Kawamoto Gorō (1919–1986) and Morino Taimei (born 1934) preferred to work independently and pursued their own paths.
Individualism is a key factor in Japanese contemporary ceramics today. This exhibition sheds light on the beginning of the break with Japanese ceramics traditions by showcasing works from independent artists and Sōdeisha members created before 1990.
Generous support is provided by the Joan B. Mirviss and Robert J. Levine Endowment Fund for Japanese Ceramics and the Gale Family Endowment—named for a generous gift from Alfred P. Gale—which strengthens the Minneapolis Institute of Art’s efforts to reach a spectrum of audiences through a variety of programs, events, exhibitions, and publications focused on the museum’s renowned collection of Asian Art.

Cracked ceramic with textured pattern and straight lines.

Breaking Tradition: The Avant-Garde in Japanese Ceramics, 1948 to 1990

Gilles Peress is one of the most esteemed documentary photographers of his generation. Born in France, Peress made his first photographic series in 1970, having previously studied political science and philosophy in Paris. He soon joined Magnum Photos, the international cooperative photography agency committed to documenting world events, people, places, daily life, and culture.
This exhibition features selected photographs Peress made in the 1970s and 1980s that bear witness to the ethno-nationalist conflict in Northern Ireland. Commonly called “The Troubles,” this political and nationalistic struggle saw the Unionist, mostly Protestant majority in Northern Ireland, who pledged loyalty to the United Kingdom, in violent conflict with Irish nationalists and republicans, mostly Irish Catholics, who sought a re-united Ireland. The violent civil unrest persisted from the late 1960s until the signing of the Good Friday Agreement in 1998.
Peress employs a humanist aesthetic in his photographs, portraying his subjects with respect and compassion. His images reveal a poignant manifestation of the human condition, reflecting his belief that photography holds the power to illuminate human suffering and inspire empathy.

People wearing masks and holding objects in a street setting.

2009.68.9

Gilles Peress: The Northern Ireland Conflict, 1968–1998

&#8220;Latitude 33°&#8221; explores migration, inheritance, and belonging through objects shaped by displacement. Named after the cartographic line crossing North Africa and the Middle East, the exhibition traces artist Tamir’s cultural lineage.
When migration forces people to leave material possessions behind, stories, embodied knowledge, and remade craft traditions become vital vessels of cultural transmission. Within Mia, these objects exist in a state of quiet dislocation, powerfully echoing the profound, universal tensions of departure and arrival.
Tamir has exhibited at institutions including the Rochester Art Center, the Frederick R. Weisman Art Museum, the Haifa City Museum, Locust Projects, and the Harn Museum of Art, among others. She was a 2021 McKnight Visual Artist Fellowship recipient and received support from the Toby Devan Lewis Fellowship, Minnesota Jewish Arts Council, and an Exhibition Grant from Artis Contemporary.
This exhibition is part of the <a href="https://new.artsmia.org/exhibitions/maep/">Minnesota Artists Exhibition Program</a>.
Support provided by RBC Wealth Management.

Blue circular fabric sculpture next to golden Hebrew letters on wall.

Rotem Tamir: Latitude 33°

This exhibition presents a rare selection of Chinese album leaves from the Ming through the Qing dynasty (14th–19th Century) from Mia&#8217;s collection. Intended for intimate viewing by hand, album leaves fostered quiet reflection and close looking. Within these modest formats, artists condensed expansive worlds into refined spaces filled with landscapes, flowers, birds, and poetic scenes.
The exhibition juxtaposes the meticulous elegance of court academy gongbi painting with the expressive freedom of literati xieyi styles. Executed on silk and paper with ink and color, these works reveal centuries of technical mastery, literary imagination, and contemplative artistic vision.

Two open books with Chinese calligraphy and drawings next to a wooden box.

Quiet Visions: Chinese Album Painting from Ming to Qing

Not all of the artistry at Mia comes from outside the museum—many employees are artists as well, and this exhibition spotlights their work.
The Staff Art Show was organized and curated by Team Mia, a group of museum staff devoted to cultivating a positive work environment, encouraging generosity and relationship-building among staff, providing accessible opportunities for connection and growth, and recognizing and celebrating museum employees. We are pleased to showcase the immense talent among us.

Painting of six people in an office setting with colorful attire, sitting and standing.

2018.13.1

Artists at Work: The Mia Staff Art Show

The Abstract Worlds of Yoshida Hodaka and Chizuko

An Indigenous Art: Huipiles from Mia&#8217;s Collection

Year of the Horse: Hoofbeats through Time

Hiroshige&#8217;s 100 Views of Edo x Emily Allchurch

Yoshida Hodaka (1926–1995) was born into a family of artists. He was the second son of Yoshida Hiroshi (1876–1950), a leading Western-style artist in Japan during the early 20th century. Hodaka leaned toward abstraction and began exploring that path after his father&#8217;s death in 1950. In 1953, Hodaka married Chizuko (1924–2017), a trained painter. In addition to oil painting, both Hodaka and Chizuko worked in the woodblock print medium. In 1992, Hodaka created a set of six extraordinarily large prints that depict walls with great attention to structural features and surface details. This exhibition showcases the entire wall set together for the first time, along with Chizuko’s abstract works and playful groups of butterflies.

abstract image: layers of bright orange and bright red loops and curlicues over brown circles extending from the upper left across to the lower right of the painting; bright blue, orange, brown, red, and tan squares throughout; horizontal bright blue narrow rectangles almost dance across the image.

Derived from a Nahuatl word, a huipil is a traditional blouse worn by women throughout Mesoamerica, particularly among the Maya, since before the 16th century when the Spanish arrived in the region. The garment remains especially prevalent in Guatemala’s highland regions, where a majority of Maya descendants reside today.
Huipiles are traditionally handwoven on a backstrap loom in two or three rectangular panels, later sewn together. Decoration, motifs, and color choices serve as a visual language that uniquely identifies the wearer’s village and social standing.
The selection presented in this exhibition comes from a significant donation of textiles made to the museum by Richard Simmons and his wife. Their contribution has greatly enhanced representation of Latin American culture in the museum’s collection.

Guatemala woman's ceremonial blouse, or huipil, featuring white, red and orange colors

&#8220;Year of the Horse: Hoofbeats through Time&#8221; celebrates the enduring power, beauty, and symbolism of horses in Chinese art and culture. Across millennia, the horse has galloped through China’s imagination—as chariot puller, zodiac sign, loyal companion, and poetic metaphor.
This exhibition explores the horse as both a real creature and a cultural emblem—embodying strength, status, virtue, and aspiration. From ritual bronzes to scholar’s miniatures, imperial scrolls to popular expressions, the horse reveals a rich interplay of mythology, mobility, and meaning. As we welcome a new Year of the Horse, these timeless images invite reflection on what it means to move, strive, and endure.

Utagawa Hiroshige&#8217;s (1797–1858) iconic landscape series “One Hundred Famous Views of Edo” (modern-day Tokyo), first published in the 1850s, stands as one of the most celebrated collections of Japanese prints. Individual prints from this series of 118 are widely regarded as some of the finest achievements in Japanese art. Hiroshige captures locations in and around Edo during all four seasons, often from unique perspectives.
Inspired by Hiroshige’s compositions, British artist Emily Allchurch (born 1974) created “Tokyo Story” using digital collage and photography. Allchurch traveled to Tokyo in 2009 and visited places pictured by Hiroshige. While many places have changed radically and bear no resemblance to Hiroshige&#8217;s images, Allchurch photographed details of the urban landscapes she encountered through various angles and focuses.
Following Hiroshige&#8217;s compositional arrangements, dramatic cropping, and color gradations, Allchurch also manipulated details of the photographic data to create views that are at once familiar and strangely fresh. This exhibition connects the past and the present by featuring Hiroshige’s captivating sceneries along with Allchurch’s modern adaptations.

Print of a Japanese temple covered in snow with people walking around

Current Exhibitions

Modern Art and Politics in Germany 1910–1945: Masterworks from the Neue Nationalgalerie, Berlin

Nik Nerburn: The Milkman

Built to Last: The Shogren-Meyer Collection of American Art

Along the Nile with David Roberts

In the first half of the 20th century, Germany experienced the last years of the German Empire, World War I and the revolution that followed, the liberal Weimar Republic, the rise of Adolf Hitler and Nazism, World War II, and the Holocaust. Modern art played an important role in the discourse of the period, and politics influenced the arts.
This exhibition features more than 70 paintings and sculptures from the collections of the Neue Nationalgalerie (New National Gallery), the distinguished modern art museum of the Berlin State Museums. It traces the German experience in the visual arts over four decades.
Beginning with the Expressionist reaction and opposition to the conservative artistic regime of Kaiser Wilhelm II, the exhibition moves on to the New Objectivity movement, the modern style of the 1920s. Between the wars, German artists participated in international experiments with abstraction. Painters and sculptors critiqued social currents, but most were silenced under the Nazis. This exhibition concludes with an epilogue that examines the ambiguous aftermath of World War II.
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Mia offers free admission to ticketed exhibitions for veterans and active-duty military and families, Minnesota WIC, MCAD students and staff, Minneapolis Park and Recreation Board staff, and museum professionals. You can reserve free admission tickets by calling Visitor Experience at 612-870-3000.
Use our <a href="https://guides.bloombergconnects.org/en-US/guide/minneapolisInstituteOfArt/exhibition/6883a787-6181-449a-a25c-da42110a78e4" target="_blank" rel="noopener">free audio guide</a> to explore the exhibition wherever you are or to enhance your visit to the museum. For the best listening experience during your visit, bring your own headsets to listen to the audio guide on your personal device.
Note: This exhibition includes depictions of nudity, scenes of war and violence, and Nazi and Holocaust imagery.
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Mia members at all levels can see the exhibition for free on Member Days: Thursday, March 12; Tuesday, March 31; Thursday, April 9; Saturday, April 18; Friday, May 15; Sunday, June 7; Thursday, June 18; and Wednesday, July 8, 2026.
Not a member yet? Learn more and join today.
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Enhance your visit with a free audio guide that uncovers the bold, urgent art of a nation in upheaval. Hear how artists challenged power, endured persecution, and redefined modern art in a time of revolution and war.
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Join us for a free public tour of the exhibition and gain deeper insight into the pieces in the exhibition. Note: The tour is free, but you need a ticket to enter the exhibition.
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Learn about the exhibition’s main themes and artworks, and prepare your students for a visit.
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Highlighting the influences and antipathies among art, politics, identity, and censorship, this book brings together more than 70 painting and sculptures from the distinguished modern art collections of the Neue Nationalgalerie in Berlin.
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Join us for a free workshop that uses art as a classroom resource for exploring the Holocaust and other genocides.
Friday, June 26 
10 a.m.–4 p.m.
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Teacher Workshop: Teaching Genocide through Art

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Experience the special exhibition through the artist’s lens. In this five-part series, Mia teaching artists will help you explore the creative periods reflected in the exhibition.
Saturday, March 14, 10 a.m.; Saturday, April 11, 10 a.m.; Saturday, May 9, 10 a.m.; Saturday, June 13, 10 a.m.; and Saturday, July 11, 10 a.m.
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Vision and Voice, Mia’s event for young adults, is your stop for chill vibes, good food, and amazing art. Plus enjoy free access to “Modern Art and Politics in Germany 1910–1945.”
Thursday, April 9 
6–9 p.m.
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Join Mia and The National WWII Museum for a free educator workshop exploring the powerful connections between art, history, and culture.
Saturday, March 14 
10 a.m.–3 p.m.
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Educator Workshop: Art, Politics, and the History of Germany in Turbulent Times

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Join us for an evening designed just for educators, featuring free admission to the special exhibition, new classroom-ready learning resources, light refreshments, and time to connect with colleagues.
Thursday, March 12 
4:30–7 p.m
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Mia welcomes experts from the University of Minnesota for a lively talk about the intertwined nature of politics and aesthetics, the relationship of painting to other art forms, ambiguity in art, and the idea of the New Woman.
Sunday, June 7, 2 p.m.
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Panel Discussion: Modern Art and Politics in Germany 1910–1945

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Join Emily Evans of the Neue Nationalgalerie for a closer look at specific works in the exhibition and stories about what happened to them between creation and joining the Neue Nationalgalerie&#8217;s collection.
Thursday, April 30, 6:30 p.m.
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Emily Evans: Case Studies from “Modern Art and Politics in Germany 1910–1945”

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Join Irina Hiebert Grun, a curator at the Neue Nationalgalerie, Berlin (NNg), as she discusses the history and collections of the NNg and how both reflect the turbulent history of Germany in the 20th century.
Saturday, March 7, 2 p.m.
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The Neue Nationalgalerie: Modern Art and Politics in Berlin

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Painting of a woman with black-brown bobbed hair and curls falling over her forehead wearing a black dress and holding a cigarette seated at a table in a nightclub setting with two men behind her and a champagne chiller holding an opened bottle of champagne

Through bewitching stop motion animation and dense, campy soundscapes, “The Milkman” shows a family keeping secrets from each other in strange and startling ways. Drawing from both enduring American mythologies and personal family lore, Nerburn uses the disarming whimsy of puppetry and dollhouses to reveal a domestic life coming undone.
Nerburn’s cross-disciplinary projects reflect his passion for people’s histories and places that are “off the map.” He&#8217;s a 2024–2025 Minneapolis College of Art and Design–Jerome Foundation Fellow and has received support from the Minnesota State Arts Board, ArtPlace America, and Springboard for the Arts.
This exhibition is part of the <a href="https://new.artsmia.org/exhibitions/maep/">Minnesota Artists Exhibition Program</a>.
Support provided by RBC Wealth Management.

The image shows a pair of hands intricately carving a piece of wood. In the foreground, there's a pile of wood shavings scattered across the surface. The setting appears to be a small room or a miniature scene with a decorative wall featuring two framed ornaments and a small clock on a shelf. To the right, a mounted deer head decorates the wall. Curtains hang on the back wall, adding to the decor.

Still from Nik Nerburn's "Going Out For Cigarettes."

This exhibition brings together paintings and photographs from the collection of Dan Shogren and Susan Meyer that explore the rich and complex meanings of industrial art during the first half of the 20th century. Spanning the late 1920s to the early 1940s, these works illuminate the importance of artistic creativity during a period shaped by economic hardship, social unrest, and the dominance of industrial manufacturing. Paintings by Harry Gottlieb, Edmund Lewandowski, Ben Shahn, and others appear alongside photographs by prominent figures such as Margaret Bourke-White, Walker Evans, and Dorothea Lange, offering a unique cross-section of artistic life during a tumultuous era.

Black-and-white photograph of a cemetery with brick rowhouses and steel mills in the background

In the 1830s, Scottish artist David Roberts journeyed through Egypt, capturing its monumental temples, tombs, palaces, and timeless landscapes with dramatic vision. Trained as a theatrical scene painter, Roberts conveyed romantic grandeur and scale like few before him, balancing accuracy with artistic imagination.
His on-site drawings were later transformed into hand-colored lithographs and published in the landmark series The Holy Land, Idumea, Arabia, Egypt, and Nubia (1842–1849). With the invention of photography in 1839, these prints, widely celebrated in their day, became the last of the great hand-made views of Egypt.

view into an Egyptian temple hall lined with colossal carved statues of pharaohs, buried up the knees in sand, with a small group of men in Arab dress gathered at the center of the hall