The Guggenheim Museum in New York is currently hosting "Rashid Johnson: A Poem for Deep Thinkers," the largest solo exhibition of the acclaimed contemporary artist's career to date. This monumental retrospective, running through January 18, 2026, features more than 90 artworks that span Johnson's decades-long career, including several pieces created specifically for the Guggenheim's iconic rotunda.
The exhibition feels particularly fitting for the Guggenheim, where Johnson has displayed his work multiple times in the past. His monumental, experimental, and conceptually rigorous practice seems entirely at home within Frank Lloyd Wright's spiral architecture. The show represents both a homecoming and an incredible expansion of insight into Johnson's multidisciplinary approach to art-making.
"A Poem for Deep Thinkers" offers a sweeping overview of Johnson's artistic evolution, showcasing everything from large-scale paintings and spray-painted text works to monumental sculptures and exploratory films. The exhibition thoughtfully juxtaposites earlier works with pieces from recent years, creating compelling throughlines that anchor the entire presentation. This curatorial approach allows visitors to trace the development of Johnson's artistic voice while identifying the consistent themes and aesthetics that have endured throughout his career.
Among the newer works on display, "God Painting 'The Spirit'" reveals Johnson's ongoing fascination with abstraction and bold colors, featuring strange, circular forms set against a dramatic red backdrop. In contrast, "Untitled Anxious Audience" betrays his continued interest in the human form and psyche, depicting several faces contorted into unsettling grimaces. These recent pieces not only reflect Johnson's artistic evolution but also cement the subjects and aesthetic concerns that have remained central to his practice.
Johnson's exploration of Black identity and political themes features prominently throughout the exhibition. "Self Portrait laying on Jack Johnson's Grave" highlights the artist's political underpinnings and his sustained engagement with questions of Black identity. This powerful photograph serves as a direct homage to Jack Johnson, the first Black American heavyweight boxer to defeat titleholder James J. Jeffries on July 4, 1910, during an era marked by intense racial violence in America.
Similarly themed but different in execution, "The Crisis of the Negro Intellectual (The Power of Healing)" displays household objects resting on a heavily painted shelf. Like the self-portrait, this artwork references entities beyond itself, taking its title from Harold Cruse's influential 1967 book that explored Black integrationism and nationalism. These works demonstrate Johnson's sophisticated approach to addressing complex social and historical issues through visual art.
At the heart of the exhibition lies "Untitled," a new mosaic work showcased on the Guggenheim's iconic rotunda floor, alongside "Rotunda Stage," an interactive space designed for performances. This stage has become the centerpiece of an extensive public engagement program that takes place every Friday through Monday, featuring collaborations with prestigious organizations including the Academy of American Poets, DreamYard, Harlem School of the Arts, Urban Word NYC, and the Guggenheim's poet-in-residence Traci Brimhall.
The public programming has already featured remarkable events, including musical performances curated by a Grammy Award-winning jazz musician, presentations by Bronx poets and students, and a special series of readings hosted by Rad(ical) Poetry Consortium fellows. This programming reflects Johnson's belief in the interconnectedness of different artistic forms and his commitment to community engagement.
Reflecting on the exhibition's mission, Johnson stated: "This exhibition continues the conversation I've always been invested in: one that allows for freedom of expression and awareness of artistic possibilities. For me, medium specificity has never been the goal—it's about how the project can move freely between different forms." This philosophy is evident throughout the show, which seamlessly integrates painting, sculpture, photography, film, and performance.
The exhibition's impact on visitors has been profound, with the Guggenheim's unique architecture playing a crucial role in the viewing experience. As described by one visitor, "Frank Lloyd Wright's spiral at New York's Guggenheim turns the gallery into a path of discovery. During Johnson's exhibition, hanging plants, integrated poetry, and evocative works reframed the rotunda. Encountering them while ascending and descending the ramp created an intimate connection with the artist."
Other notable works in the exhibition include "The Broken Five" (2019), "Untitled Escape Collage" (2018), "Bruise Painting 'Honeysuckle Rose'" (2021), "The Shuttle" (2011), "Seascape 'Jitter Bug'" (2022), a still from "Sanguine" (2024), and "Untitled (Shea Butter Table)" (2016). Each piece contributes to the comprehensive narrative of Johnson's artistic journey, demonstrating his versatility across media and his consistent engagement with themes of identity, history, and human experience.
"Rashid Johnson: A Poem for Deep Thinkers" represents a significant moment in contemporary art, offering audiences an unprecedented opportunity to engage with the full scope of one of America's most important living artists. The exhibition's combination of retrospective survey and new commissions, enhanced by innovative programming, establishes it as a defining cultural event that will likely influence how major museums approach artist retrospectives in the future.
