The religious elements involved in their design and use had made kero cups frequent targets of early Spanish drives to destroy “pagan” rites.

This exhibition heralds a series of thematic shows conceived to examine various elements in the history of costume, with selections culled primarily from the Museum's own collections. Thus reaffirming the Museum's commitment to collecting and to the care and display of costume, these installations will offer substantial displays year round as well as an extraordinary opportunity to evaluate and appreciate the evolution of costume over the last three centuries. The depth and scope of our collections should provide the curators with an inexhaustible source of challenging subjects and inspiration for exhibitions, research, publications, and teaching programs far into the next century. It is therefore with much pleasure and great expectation that we offer Infra-Apparel, the first in an exciting series of projects envisioned by our new curators, Mr. Martin and Mr. Koda.

It is possible that the inhabitants of Igbo-Ukwu had a metalworking art that flourished as early as the ninth century (though this date remains controversial).

The ceremony of capac hucha, or “royal obligation” in Quechua, reportedly occurred to mark natural events like a drought or the accession or death of an Inca ruler.

Spectrum Co-chairs Lucy Redoglia and Christopher Gorman introduce readers to Yaëlle Biro, assistant curator for the Arts of Africa in the Met's Department of the Arts of Africa, Oceania, and the Americas.

The Metropolitan Museum Journal is issued annually and publishes original research on works of art in the Museum’s collection. Highlights of volume 53 include an exquisite pair of 17th-century Chinese birthday gift portraits of an elderly couple, a hidden painting of a Rococo-inspired nude underneath Manet’s 1862 Mademoiselle V. . . . in the Costume of an Espada, and a new identification of the central figure in Daumier’s The Third-Class Carriage.

Myth, memoir, and monumentality collide in H Sinno‘s site-specific opera “Westerly Breath,“ premiered in the Temple of Dendur in January 2024.

The rise of Theseus as the national hero of Athens, evident in the evolution of his iconography in Athenian art, was a result of a number of historical and political developments that occurred during the sixth and fifth centuries B.C.

The renowned architect reflects on the life and legacy of his friend.