Museum of Art

Since the arrival of the first itinerant portrait painters in the colonies, Americans have created portraits to commemorate loved ones, glorify the famous, establish national myths, and honor shared heroes. Whether on canvas, in stone, in bronze, on film, or in binary code, we spend considerable time creating, contemplating, and collecting our likenesses. This exhibit, which brings together 90 portraits from more than 20 collections, explores and explains Americans’ 300-year fascination with images of themselves. Free

Since the arrival of the first itinerant portrait painters in the colonies, Americans have created portraits to commemorate loved ones, glorify the famous, establish national myths, and honor shared heroes. Whether on canvas, in stone, in bronze, on film, or in binary code, we spend considerable time creating, contemplating, and collecting our likenesses. This exhibit, which brings together 90 portraits from more than 20 collections, explores and explains Americans’ 300-year fascination with images of themselves. Free

Since the arrival of the first itinerant portrait painters in the colonies, Americans have created portraits to commemorate loved ones, glorify the famous, establish national myths, and honor shared heroes. Whether on canvas, in stone, in bronze, on film, or in binary code, we spend considerable time creating, contemplating, and collecting our likenesses. This exhibit, which brings together 90 portraits from more than 20 collections, explores and explains Americans’ 300-year fascination with images of themselves. Free

Since the arrival of the first itinerant portrait painters in the colonies, Americans have created portraits to commemorate loved ones, glorify the famous, establish national myths, and honor shared heroes. Whether on canvas, in stone, in bronze, on film, or in binary code, we spend considerable time creating, contemplating, and collecting our likenesses. This exhibit, which brings together 90 portraits from more than 20 collections, explores and explains Americans’ 300-year fascination with images of themselves. Free

In 1994, pop artist Roy Lichtenstein was invited by PACT, a syndicate created to compete in the America’s Cup trials the following year, to create a design for the hull and spinnaker of their boat. It was one of his largest and last works. This exhibit recounts the history of that commission and the history of the America’s Cup races, before and since. Free

In 1994, pop artist Roy Lichtenstein was invited by PACT, a syndicate created to compete in the America’s Cup trials the following year, to create a design for the hull and spinnaker of their boat. It was one of his largest and last works. This exhibit recounts the history of that commission and the history of the America’s Cup races, before and since. Free

In 1994, pop artist Roy Lichtenstein was invited by PACT, a syndicate created to compete in the America’s Cup trials the following year, to create a design for the hull and spinnaker of their boat. It was one of his largest and last works. This exhibit recounts the history of that commission and the history of the America’s Cup races, before and since. Free

In 1994, pop artist Roy Lichtenstein was invited by PACT, a syndicate created to compete in the America’s Cup trials the following year, to create a design for the hull and spinnaker of their boat. It was one of his largest and last works. This exhibit recounts the history of that commission and the history of the America’s Cup races, before and since. Free

In 1994, pop artist Roy Lichtenstein was invited by PACT, a syndicate created to compete in the America’s Cup trials the following year, to create a design for the hull and spinnaker of their boat. It was one of his largest and last works. This exhibit recounts the history of that commission and the history of the America’s Cup races, before and since. Free

In 1994, pop artist Roy Lichtenstein was invited by PACT, a syndicate created to compete in the America’s Cup trials the following year, to create a design for the hull and spinnaker of their boat. It was one of his largest and last works. This exhibit recounts the history of that commission and the history of the America’s Cup races, before and since. Free