This accession consists of records that document the planning, curation, and execution of temporary exhibitions at the Hirshhorn Museum and Sculpture Garden, including EXPRESSIV, and the WORKS and DIRECTIONS series sponsored by the Museum. The records were created and maintained by Neal David Benezra, Assistant Director for Art and Public...

The records of the Frances Wolfson Art Gallery measure 5 linear feet and date from 1973 to 1994 with 4.5 linear feet documenting exhibitions held at the Gallery. General administration of the Gallery is also chronicled through correspondence, business records and printed material.

Most of the correspondence is directed to Goode, with lesser amounts to True, Walcott, and Rathbun. Also, a small amount of correspondence is addressed to the Secretary of the Smithsonian Institution, (Baird, 1878-1887; and Samuel P. Langley, 1887-1906) but is generally referred to the Assistant Secretary for response. Much of the material is...

This accession consists of records documenting objects used in exhibitions at the Hirshhorn Museum and Sculpture Garden. Materials consist of correspondence, memoranda, loan agreements, object lists, loan record sheets, shipping records, insurance records, condition notes, and indemnities.

This accession consists of records created and maintained by James Demetrion, Director, 1984-2001, documenting exhibitions created at the Hirshhorn Museum and Sculpture Garden by various curators, including Stanley Spencer: An English Vision and Clyfford Still: Paintings, 1944-1960, curated by Demetrion. Materials include correspondence a...

This accession consists of records that document the publicity that promoted and supplemented exhibitions at the Hirshhorn Museum and Sculpture Garden. There is also a smaller amount of material in boxes 5 and 6 that document general museum activities and events. Materials include press releases, brochures, clippings, fact sheets, notes, ...

This collection contains the professional papers of William Curtis Sturtevant and documents his activities as Curator of North American Ethnology at the National Museum of Natural History, his work as the editor-in-chief of the Handbook of North American Indians, his research among the Seminole and Iroquois people, and other professional activities. The collection is comprised of books, sound recordings, research and field notes, realia, artifacts, clippings, microfilm, negatives, slides, photographs, manuscripts, correspondence, memorandums, card files, exhibition catalogs, articles, and bibliographies.

The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 56.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

This accession consists of records that document the curatorial activities of Frank Gettings, Curator of Prints and Drawings at the Hirshhorn Museum and Sculpture Garden, 1969-1999. Some exhibitions curated by Frank Gettings for the Hirshhorn included: Picasso's Etchings: Selections from the Museum's Collecion (1975); Robert Rauschenberg: ...

The records of the Downtown Gallery date from 1824 to 1974 (bulk 1926-1969) and measure 109.56 linear feet. The records present a comprehensive portrait of a significant commercial gallery that operated as a successful business for more than forty years, representing major contemporary American artists and engendering appreciation for early American folk art. There is an unprocessed addition to this collection dating circa 1970 of a single financial/legal document.