The papers of curator Nan Rosenthal measure 26.6 linear feet and 17.1 gigabytes and date from circa 1940-2013. There is a small amount of biographical material; correspondence, mostly letters from her first husband Otto Piene; project and research files encompassing her work as a curator and historian; as well as teaching files; and thousands of slides organized by subject. Among Rosenthal's research and project files are sound recordings and transcripts from dozens of interviews Rosenthal conducted with artists including Howard Hodgkin, Anselm Kiefer, friends and family of Yves Klein, Robert Rauschenberg and friends, George Rickey, Claus Oldenburg, and Sangbin Im. In addition to paper records, the collection also includes a large number of sound recordings, video recordings, and born digital material.

The Samuel J. Wagstaff papers, circa 1932-1985 comprise 6.4 linear feet of correspondence, writings, miscellaneous records, printed material, and photographs documenting Wagstaff's professional and personal relationships with artists and photographers, his career as an art curator, and his position as an important collector of paintings and photographs. Correspondence with artists and others such as curators, arts organizations, galleries, and museums, reflects the diversity of contemporary American art and includes individuals associated with the abstract expressionist, Fluxus, pop, earth, conceptual, and minimalist art movements.

The letters of artist, cataloguer, and conservator, Xenia Cage to Milton Sonday measure 0.4 linear feet and dates from 1968-1995. Included are letters, postcards, and small collages sent from Cage to Sonday. The collection also includes five cards addressed to Gillian Moss and two addressed to Lucy Block, both of whom were also curators in the Cooper-Hewitt's textile department.

An interview of Lloyd Goodrich conducted 1962 June 13-1963 March 25, by Harlan Phillips, for the Archives of American Art. Goodrich speaks of his youth in Nutley, New Jersey; his family background; his father's influence; his friendship with Reginald Marsh; studying at the Art Students League under Kenneth Hayes Miller; attending the National Acade...

The papers of art historian, critic and curator Robert Pincus-Witten measure 12.0 linear feet and date from 1950-2017. Included are biographical material consisting of diplomas, passports, address books, and calendars; writings including 43 journals and drafts of articles, essays and other writings by Pincus-Witten; correspondence with friends and ...

The papers of New York art historian, museum director, curator, writer, and educator, Alan R. Solomon, measure 9.9 linear feet and date from 1907-1970, with the bulk of the material dating from 1944-1970. Through biographical material, correspondence, interview transcripts, writings and notes, teaching and study files, subject files, exhibition files, business records, printed material, and photographs, the collection documents Solomon's education, his early teaching appointments at Cornell University, and his subsequent direction of many diverse curatorial and research projects relating to contemporary American art, particularly the transition from Abstract Expressionism to later modern movements, and the thriving New York City art scene.

Research notes, printed matter, photographs, and correspondence, 1981-1983, of Lise Holst relating to her work on Robert Lea MacCameron; and photocopies of MacCameron's correspondence, 1900-1912, a journal, 1896-1912, and writings.

The papers of multimedia sculptor, curator, and instructor David Weinrib measure 4.6 linear feet and date from circa 1950-2015. The collection documents Weinrib's life and career through a small amount of biographical material, project files, and printed and photographic material. Project files make up the bulk of the collection and document Weinrib's teaching at Black Mountain College, his curation of the Pratt Sculpture Park, and an extensive project that he undertook with his second wife, JoAnn Weinrib, in 1998 titled "Sculptors in Their Environments." This project file includes photographic documentation of numerous artists working in their studios including Vito Acconci, Louise Bourgeois, Petah Coyne, Mary Frank, Judy Pfaff, Ursula von Rydingsvard, and many others.

The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 70.5 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. There is a 17.0 linear foot unprocessed addition to this collection donated in 2015 and 2021 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley 50 notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence."Materials date from circa 1965-2010.

A letter to Harry Lowe, December 5, 1965, and an unpublished typescript, "Information in Relation to Writings on Space," by Pereria, 40 pages.