Roxana Marcoci, a prominent curator at the Museum of Modern Art in New York, offers a unique perspective on art and culture through her diverse experiences and sophisticated taste. As co-curator of the upcoming exhibition "New Photography 2025: Lines of Belonging," which runs from September 14, 2025, to January 17, 2026, Marcoci brings a deep understanding of how art functions as both personal expression and collective consciousness.
When asked about living with just one work of art, Marcoci chose an unconventional answer that reveals her holistic approach to artistic experience. She envisions Constantin Brancusi's studio from the 1920s, describing it as "a space not just for sculpture but for communion." In her imaginative recreation, she pictures Erik Satie playing anarchic notes on a small harmonium, Lizica Codreanu floating in a long sculptural dress while performing improvised dances around "Bird in Space" or "Endless Column," Tristan Tzara shouting cut-up poetry, and Marcel Duchamp quietly observing with a sly smile. "I cannot think of an artwork without its reception, the experiences it generates," she explains, emphasizing the social and interactive nature of artistic appreciation.
Marcoci's cultural sensibility was profoundly shaped by her early experiences at Teatrul Giulesti in Bucharest, where her mother worked as an actress and the theater served as her second home. This theatrical background influenced her appreciation for experimental performance art, particularly Robert Wilson's collaboration with Philip Glass for "Einstein on the Beach" (1976). She describes this groundbreaking work as "a hypnotic, durational ritual that redefined what opera—and performance itself—could be," highlighting how it challenged traditional boundaries between art forms.
In terms of literature, Marcoci has recently been drawn to Ocean Vuong's writing, praising his vulnerability and the way he balances "tenderness and toughness." She particularly appreciates how Vuong "conveys the experience of immigration as embodied, linked with fragmented memory," suggesting a personal connection to themes of displacement and cultural identity. Her musical tastes are equally eclectic, ranging from progressive rock bands like Pink Floyd to acid jazz compilations and fusion-style music, with a special affinity for Afro-Caribbean influences.
Marcoci recommends several contemporary works that have captured her attention, including Steve McQueen's "Small Axe" anthology series for BBC and Amazon (2020), which she describes as "a bold reminder of how film can reshape history." She also champions the work of Belgian filmmaker Chantal Akerman, whose films "have redefined how women's lives, labor and interiority could be portrayed on screen." Notably, MoMA will host a comprehensive retrospective of more than 40 of Akerman's features and rarely screened short films opening in September.
When reflecting on the fundamental purpose of art, Marcoci offers a philosophical perspective that underscores her curatorial approach. She believes art serves "as a form of inquiry into what it means to be human," explaining that "art disrupts certainty, invites reflection, transforms perception, opens new ways of understanding, and acts as a conduit for both personal and collective consciousness." This comprehensive view of art's role in society reflects her commitment to presenting exhibitions that challenge audiences and expand their understanding of contemporary visual culture.
