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Abstract artwork by Miro of whimsical shapes and colors

Miró and the United States

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Special Exhibition
Abstract artwork of various constellation like shapes and eyes

Miró and the United States

Community Exhibition
black and white abstract artwork

Be Curious: Art Links to Learning

Free / In-Person

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Special Event
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After Party

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Brooklyn Rider

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Phillips@THEARC
Crochet Circle at Phillips@THEARC

Spinning a Yarn: Crochet Circle

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Collage of musicians featured in the 2025–26 Phillips Music Sunday Concert series. The image includes a diverse group of soloists and ensembles, captured in various performance and portrait settings.

Phillips Music

Welcome to the 2025-26 Season

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15-min talks Thu-Sun, 1 & 1:30 pm

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Arts and culture on demand

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Enjoy lectures, artist talks, plays, videos about our exhibitions and collection, and more on our YouTube channel.

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Jeffrey Gibson's My heart beats for the one I love
Collection Highlights
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On the Experiment Station

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Director's Desk
Joan Punyet Miro and Jonathan Binstock

Celebrating Exchange Across Cultures and Nations

People & Community
Trinitee Tatum in front of The Phillips Collection

Fellow Spotlight: Trinitee Tatum

People & Community
Kelly Richman-Abdou

Fellow Spotlight: Kelly Richman-Abdou

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Installation view of three works by Bonnard with a bench and a guest in the middle of the room

Bonnard at the Phillips

People & Community
Clarisse Fava-Piz headshot in a gallery with art on the walls

Meet Our New Curator of Modern Art

Education & Community Engagement, People & Community
Tiffany McGettigan speaking at the 2025 Evening for Educators

Meet Our Chief of Education and Responsive Learning

Education & Community Engagement
Evening for Educators tour

An Evening for Educators: Out of Many, One Classroom

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Four panels from Jacob Lawrence's Migration Series on view at the Kunsthal Kade

Collection on the Road

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Shikeith, Visiting Hours, 2022

The Phillips Collects: Shikeith

In the News

Joan Miró, The Red Sun, 1948, Oil on canvas, 36 1/4 × 28 3/4 in. (92 × 73 cm), The Phillips Collection, Washington, DC, Acquired 1951 © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2025; Text overlay reads "Phillips Collection maps Joan Miró’s transatlantic legacy in new exhibition, Mackenzie Weinger, The Washington Diplomat"
Helen Frankenthaler, Canyon, 1965, Acrylic on canvas, 44×52in., The Phillips Collection, The Dreier Fund for Acquisitions and funds given by Gifford Phillips, 2001 © 2026 Helen Frankenthaler Foundation, Inc. /Artists Rights Society (ARS), New York; Text overlay reads "Miró Helped Shape Modern Art. The U.S. Helped Shape Miró., Vanessa Larson, The Washington Post."
Joan Miró, Figure, Bird in the Night II, 1972, Fundació Joan Miró, Barcelona. Text overlay reads "Admiring Miró, Karen Wilkin, The New Criterion"
Installation image of "Miró and the United States." Photo: Lee Stalsworth. Text overlay reads "Miró at The Phillips Collection, Richard Selden, The Georgetower."
Man looking at The Red Sun by Joan Miró. Text overlay reads "The relationship between Miró and the United States comes to Washington with an exhibition of 75 works, EFE News Agency"
Joan Miró, The Red Sun, 1948, Oil on canvas, 36 1/4 × 28 3/4 in. (92 × 73 cm), The Phillips Collection, Washington, DC, Acquired 1951 © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2025; text overlay reads "An Exhibition on Miró’s time in the United States and His Relationship with Various Artists Opens in Washington, TV3"
Joan Miró in Carl Holty’s studio, in front of the mural painting for the Terrace Plaza Hotel in Cincinnati, 1947 Photo: Arnold Newman © Arnold Newman / Getty Images. Text overlay reads "How Joan Miró and America Were Made for Each Other, Alice Gauvin, The New York Sun"
Joan Miró, Painting (Fratellini) (detail), 1927, Oil and aqueous medium on canvas , 51 1/4 × 38 1/4 in., Philadelphia Museum of Art: A. E. Gallatin Collection, 1952-16-1, © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2026. Text overlay reads "Miró Meets America: Exploring Artistic Exchange and Influence, Mia Pech, The Georgetowner."
Grace Hartigan, Six Square, 1951, Oil on canvas, 59 7/8 x 64 5/8 in., Collection of the Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York. Bequest of Agnes Rindge Claflin. Text overlay reads "Miró and the United States at The Phillips Collection, Judith Beerman, The Georgetown Dish."
Jackson Pollock, Eyes in the Heat (detail), 1946, Oil and enamel on canvas, 54 × 43 in. Peggy Guggenheim Collection, Venice (Solomon R. Guggenheim Foundation, New York) © 2026 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York; text overlay reads "Exhibition Explores How the US Shaped Joan Miro—and He It; Angelica Hankins, The Art Newspaper"
Joan Miró, The Red Sun (detail), 1948, Oil on canvas 36 1/8 x 28 1/8 in., The Phillips Collection, Acquired 1951; © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2022. Text overlay reads "Inside Joan Miró's New Exhibit at The Phillips Collection, Michael McCarthy, MODERN LUXURY"
peter campus, blessingway (video still), 2024, Videograph, 6:37 minute loop, Courtesy of the artist and Cristin Tierney Gallery. Text overlay reads "At 88, peter campus Swaps Youthful Ego for Late-Style Modesty, Emily Watlington, Art in America"
Rik Freeman, Wenceslau with text overlay that reads "Rik Freeman's Personal Touch, Kaila Philo, Washington City Paper"
Joan Miró, Chiffres et contellations amoureux d’un femme from the Constellations Series, 1959, 18 3/4 x 15 in., Book with 1 lithograph and 22 reproductions heightened with pochoir, Fundació Joan Miró © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2026 with text overlay that reads "Phillips Collection's Upcoming Miró Exhibit Celebrates the Power of International Exchange, Events DC, Washington Business Journal."
Vivian Browne, Bini Apron, 1973, Acrylic on canvas, 49 3/4 x 51 3/4 in., The Phillips Collection, Washington, DC, Gift of Adobe Krow Archives for Vivian Browne, Los Angeles. Image courtesy of RYAN LEE Gallery, New York, 2024. © Vivian Browne; text overlay reads "Vivian Browne's Lessons in Flipping the Script, Grace Byron, Frieze"
Lyle Ashton Harris, The Watering Hole III (detail), 1996, The Museum of Modern Art; text overlay reads "Essex Hemphill's Love Knew No Bounds, Michael Londres, Aperture"
Vivian Browne, For You, 1974, Oil on canvas, 46 3/4 x 50 3/4 in., Courtesy of Adobe Krow Archives, Los Angeles, and RYAN LEE Gallery, New York. © Vivian Browne; Text overlay reads 'She Didn't Want To Be Boxed In. So She Painted Out, Angelica Hankins, The Washington Post.'
A jambon-beurre sandwich on a baguette and a latte sit on a café table. Overlaid text reads: “The 5 Best Museum Cafés in D.C. – Tom Sietsema, The Washington Post.”
An image of Essex Hemphill speaking into a microphone on stage with text overlay that reads "A Living Archive: Curator Camille Brown and Photographer Clifford Prince King on Essex Hemphill's Legacy / Lia Latty / Black Is Magazine"
Installation image of an art gallery with text overlay that reads 'Essex Hemphill's poetic impact on the visual arts is celebrating in moving 'Take Care of Your Blessings' exhibition, Kyle Jackson, Queerty
Alphonse Mucha, “Zodiac,” 1896. Color lithograph. (Collection of the Mucha Trust) with text overlay that reads "The Turbulent Beauty of Art Nouveau is Still All Over Culture, Angelica Hankins, The Washington Post'
Man and woman looking at a red and orange painting with text overlay that reads 'Explore the Not-So-Hidden Gems from DC's The Phillips Collection, Robert Aubry Davis, WETA'
Photography of a blue sky and white clouds. A blue sea with three small boats. Text overlay reads "A Window into Joel Meyerowitz | The Phillips Collection, Fiona Perkocha, Musee Magazine'
Photo of a woman holding and pointing at a picture to a group of children. Text overlay reads 'Meet the Docents: How to Introduce 5th Graders to Complex Topics in Fine Art, Elliot Williams, WAMU'
Painting of a nude woman reclining on a bed, next to a window overlooking a river. Text overlay reads 'Everything Changed for Matisse After He Painted This Nude, Sebastian Smee, The Washington Post."
Person cleans a landscape painting with a cotton swab. Text overlay reads, 'Up Close with Paul Cezanne Review: News Perspectives on a Provencal Master, Mary Tompkins Lewis, The Wall Street Journal'
Installation image of Bonnard's Worlds. Text overlay reads, 'Pierre Bonnard's Dazzling World of Color at the Phillips Collection | Around Town Best Bets, Philippa Hughes, WETA PBS'
Installation image of drawings hung against a cream colored wall. Text overlay reads Bernardí Roig: el artista que decapitó a Goya, Borja Hermoso, El País
Drawing of a woman playing in the water with text overlay. Caption reads "'Interior Lives' at Phillips@THEARC Explores The Black Femme Experience During Women's Month" Andrew S. Jacobson The Washington Informer
Renoir's Luncheon of the Boating Party, Capturing the Height of the Summer Leisure / Hesper Cane / Widewalls
Alone in a Room with Rothko. Adam Rathe. Town & Country
Promo for article about Phillips centennial in New York Times by Kerry Hannon
Promo for Seeing Differently review in The Washington Post by Philip Kennicott

Centennial Commissions

Wesley Clark

Victor Ekpuk

Nekisha Durrett

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