The Ukrainian Museum

Exhibition

Pysanka—The Guardian Of Life

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Opens March 1, 2026

Traditional Ukrainian folk life was filled with rituals considered necessary for everyone’s well-being. An important aspect of these rituals was the creation of items embodying talismanic and protective powers. Among such articles – created by hand under propitious, ritualistic conditions is – the pysanka (Easter egg), which to this day continue to play a significant role in Ukrainian mores.

Foremost among the many symbolic meanings and ritualistic uses of these items is the concept of the mystery of life – its creation, resurrection, continuity, and protection. The pysanka traditionally is made at the time when nature is about to be reborn or resurrected – in the spring. Creating a pysanka in springtime means acting in concert with nature, working in harmony with it, and thus aiding and strengthening it in its attempt to resurrect life. In Ukrainian tradition, being in tune with nature, through the enactment of various rituals, has always been considered essential for the well-being of the humanity.

Form and Space: Sculptures from the Permanent Collection

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This exhibition showcases sculptures from the Museum’s collection, focusing mainly on works in bronze and metal. The featured Ukrainian diaspora artists — from the renowned Alexander Archipenko to the lesser-known Serhii Lytvynenko — represent a wide variety of styles and techniques. Two Chicago-based artists, Mychajlo Urban and Konstantin Milonadis, offer abstract works in metal, while Gregor Kruk’s bronze sculptures find inspiration in themes rooted in the Ukrainian village way of life. Peter Kapschutschenko’s rugged sculptures feature Ukrainian motifs as well, but they also excel at capturing the essence of children’s mystique. Mykhailo Chereshnovsky, known for his monuments of the poet Lesia Ukrainka in Cleveland, Ohio, and in Toronto, Canada, and Serhii Lytvynenko are represented here by their sculptural portraits of women. Except for Archipenko’s Torso in Space, these sculptures are rarely exhibited, and some of them — those recently acquired — are being shown for the first time.

The Wreath: A Century of Ukrainian Women Beyond the Ocean

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Looking back on the evolution of the Ukrainian feminist tradition, this exhibition honors the 100th anniversary of the Ukrainian National Women’s League of America (UNWLA) and the contributions of its members in the global arena of diplomacy. The title refers to Pershyi Vinok (First Wreath), the landmark 1887 feminist almanac uniting women from Ukrainian communities under Habsburg and Czarist rule. “The Duties of Ukrainian Women Beyond the Ocean” were then articulated in a speech written by UNWLA president Olena Lototsky for the 1934 International Congress of Ukrainian Women in Stanyslaviv.

Since 1925, the UNWLA has navigated waves of migration and historic disruptions, proving, in Dr. Martha Kichorowska Kebalo’s words, how “feminist sensibility can coexist with long-distance nationalism.” Many artists featured in the exhibition were published in the UNWLA’s Our Life magazine, while other artifacts come from the UNWLA’s 1930s collection that became the foundation for The Ukrainian Museum. Artworks by Halyna Mazepa and Lydia Bodnar-Balahutrak recall early humanitarian campaigns, including relief for Carpathian flood victims in 1927. Still lifes by Iryna Homotiuk-Zielyk and Chrystya Olenska evoke decades of UNWLA members’ Holodomor awareness work. Paintings by Olena Kulchytska, Alla Johansen, Sophie Zarycka, and Arcadia Olenska-Petryshyn are presented alongside archival correspondence with female dissidents and wives of political prisoners in Ukraine during the Soviet period, reflecting on the UNWLA’s efforts to build a transnational activist community. Historic documents recall the UNWLA’s representation at the United Nations Decade of Women’s World Conferences in Mexico City (1975) and Copenhagen (1980), where its members demonstrated, distributed information, and conducted panels in defense of women prisoners of conscience.

Artists Alina Tenser and Sasha Topolnytska represent the generation that arrived in the U.S. in the 1990s, when the UNWLA advised global aid agencies on post-Chornobyl Ukraine. Their work appears alongside Yaroslava Surmach-Mills’ illustrated children’s book, connected to the UNWLA’s involvement with the International Movement of Mothers and the organization’s advocacy for vulnerable children under the UN Convention on the Rights of the Child (1989). Following their Children of Chornobyl advocacy work in the 1990s, the UNWLA’s campaigns have focused on the return of Ukrainian children kidnapped by Russia since its full-scale invasion in 2022.

Boris Mikhailov

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13 September 2025 – 18 January 2026

The Ukrainian Museum will proudly host the first major museum exhibition of Boris Mikhailov’s photography in New York. Revered as the most celebrated living Ukrainian artist, Mikhailov’s work invites viewers into the complex tapestry of post-Soviet life, confronting the juxtaposition of vulnerability and resilience. Among the exhibited masterpieces are selections from the acclaimed “Yesterday’s Sandwich” and “Parliament” series. “Yesterday’s Sandwich” poignantly captures the remnants of daily existence in a rapidly changing society, presenting intimate glimpses into the lives of those often overlooked. Each photograph serves as a silent testament to the struggles and aspirations of ordinary individuals, imbuing the mundane with profound significance. Conversely, the “Parliament” series offers a bold critique of power and its discontents. Mikhailov’s lens navigates the corridors of politics, revealing the stark realities of governance amid the aspirations of a hopeful nation. The images challenge viewers to engage critically with the political landscape while empathizing with the human stories intertwined within it.

Visitors will appreciate Mikhailov’s daring exploration of identity, politics, and the enduring spirit of the Ukrainian people. This exhibition stands as a powerful reminder of art’s capacity to illuminate the complexities of contemporary life.

Village to Modern

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16 May – 23 August 2025

The influence of Ukrainian folk art on Ukrainian modernism in the early 20th century was profound and far-reaching. With its vibrant colors, geometric patterns, and unique symbols, Ukrainian folk art played a significant role in shaping the artistic movements of the early 20th century, particularly the work of many Ukrainian artists. 

The avant-garde artists of the early 20th century sought to break away from traditional artistic conventions and explore new forms of expression. They were inspired by the simplicity and authenticity of Ukrainian folk art, which had its creative roots in domestic settings within small villages across the country and was seen as a reflection of the soul of the Ukrainian people. Folk art’s bright colors and bold patterns influenced avant-garde artists to experiment with new techniques and styles, leading to the development of innovative and groundbreaking artworks.

One of the key figures in the Ukrainian avant-garde movement was Kazimir Malevich, a painter and art theorist who is best known for his pioneering work in abstract art. Malevich was deeply influenced by Ukrainian folk art, particularly the traditional embroideries and textiles that he encountered in his homeland. He incorporated elements of folk art into his own work, creating abstract compositions that were both avant-garde and rooted in Ukrainian artistic traditions.

Another artist who was influenced by Ukrainian folk art was Alexandra Exter, a painter and designer who was renowned for her avant-garde theater sets and costumes. Exter drew inspiration from Ukrainian folk motifs and symbols, incorporating them into her avant-garde designs to create visually striking and innovative works of art.

The impact of Ukrainian folk art resonated across all the major cities of Ukraine, including Kharkiv, where artist Vasyl Yermylov used the iconography and many of the hand-crafted objects as a basis for his work — both art and graphic design. He instilled his theories and influences in students at the National Art Institute, where he taught for many years. This made Kharkiv a leading design epicenter for the country.

The influence of Ukrainian folk art on the Ukrainian avant-garde in the early 20th century was transformative, shaping the development of new artistic movements and pushing the boundaries of artistic expression, inspiring avant-garde artists to create innovative and groundbreaking works that continue to resonate to this day.

Jurij Solovij: Abstracting Time

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16 May – 24 August 2025

The first comprehensive survey exhibition of Ukrainian artist Jurij Solovij at the Ukrainian Museum in New York presents a significant opportunity to explore the multifaceted contributions of a distinguished artist who adeptly navigated the complexities of culture and identity through his work. Born in Ukraine in 1921 and having escaped the ravages of World War II, Solovij immigrated to the United States in 1952, bringing with him a rich cultural heritage that would profoundly influence his artistic expression.

This exhibition highlights a curated selection of Solovij’s paintings and works on paper, showcasing his mastery of color and form, which reflect both his Ukrainian roots and his experiences as an émigré. In addition to his paintings and drawings, the exhibition will also feature Solovij’s graphic design work, including book covers, advertisements, and wallpaper designs, illuminating his versatility and innovative approach towards visual communication.

Through this comprehensive survey with works from 1952 until his death in 2007, visitors will gain insight into Solovij’s unique ability to fuse traditional Ukrainian motifs with contemporary expressionistic elements. The exhibition not only affirms his place within the broader canon of Ukrainian art but also underscores the resilience of cultural identity in the diaspora. Ultimately, this showcase at the Ukrainian Museum serves as both a celebration of Solovij’s artistic legacy and an invitation to engage with the rich narratives of Ukrainian history.

PYSANKA: THE UKRAINIAN EASTER EGG

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April 2

Traditional Ukrainian folk life was filled with rituals considered necessary for everyone’s well-being. An important aspect of these rituals was the creation of items embodying talismanic and protective powers. Among such articles – created by hand under propitious, ritualistic conditions – the pysanka (Easter egg) and the rushnyk (ritual cloth) are of greatest importance; to this day, they continue to play a significant role in Ukrainian mores.

Foremost among the many symbolic meanings and ritualistic uses of these items is the concept of the mystery of life – its creation, resurrection, and continuity. The pysanka traditionally is made at the time when nature is about to be reborn or resurrected – in the spring. Creating a pysanka in springtime means acting in concert with nature, working in harmony with it, and thus aiding and strengthening it in its attempt to resurrect life. In Ukrainian tradition, being in tune with nature, through the enactment of various rituals, has always been considered essential for the well-being of the humanity.

A rushnyk traditionally is made every time a child is born; additional rushnyky are created for each auspicious occasion as the child matures and goes through life’s various rites of passage. The intricate designs incorporated into the rushnyk by the mother for her child, or by the young girl for her beloved, for her future home, or for herself, are the magical, potent symbols of life and wishes for a productive future, good fortune, and happiness. In Ukrainian tradition, to be without one’s ritual cloth is to be without one’s shadow, without protection, without guidance, without the memory of one’s past, or without visions and aspirations for one’s future.

TATLIN: KYIV

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Volodymyr Tatlin. Collage for the “The Diplomatic Pouch” movie by Oleksandr Dovzhenko. 1927.

6 February 2025 – 27 April 2025

Vladimir Tatlin (Ukrainian: Volodymyr), the prominent avant-garde artist and founder of Constructivism, was born in Kharkiv, Ukraine, and lived and worked in Kyiv from 1925 until 1927. This pioneering exhibition recreates the artist’s Kyiv studio and chronicles the work made during this period within the museum space, depicting the actual environment in which his art was conceived and created for the very first time. Tatlin: Kyiv serves as an educational catalyst for the decolonization of Ukrainian art through the lens of Tatlin’s work, contributing to the preservation of Ukrainian history and cultural discourse.  

Tatlin’s illustration and design work with local Kyiv journals, book publishers, and theatre productions are highlighted for the first time. Additionally, the work of artists who studied under Tatlin at the Kyiv Institute of Art, where he taught a multi-disciplinary class that combined sculpture, film, and photography, are also on display. Tatlin: Kyiv reexamines a major gap in the discourse of art history to include Tatlin’s work of the late 1920s.