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Online Exhibitions

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Since 1996, the Library has created websites inspired by some of the physical exhibitions presented at its research centers, as well as a number of web-only presentations based on its collections.

  • From Revolution to Republic in Prints and Drawings

    A celebration of the profound and diverse holdings of early American prints and drawings in The New York Public Library, this two-part exhibition draws primarily from the Phelps Stokes, Emmet, Eno and C. W. McAlpin collections, all part of the Print Collection of The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, and from the Spencer Collection.

  • Harlem 1900-1940

    This exhibition presents various elements of the history of the urban experience in Harlem's early days as the Cultural Capital of African Americans. This history education portfolio provides a timeline and lesson plans.

  • Heading West: Mapping the Territory

    According to an old adage, a place is not discovered until it is mapped. This online exhibition traces the evolution from an imagined to a defined and mapped American West. Through impressions of the West in maps from 1540 to 1900, the website presents an overview of the mapping process, which continues today.

  • Heavens Above: Art and Actuality

    An online exhibit that compares the 19th-century chromolithographs of astronomical observations made by artist/astronomer Etienne Trouvelot with comparable images photographed by NASA as part of its space program.

  • i on infrastructure

    "I on Infrastructure," brings a new twist to civil engineering by exploring the intellectual, cultural, and social contexts that shape the world's infrastructure. Marrying art and technology concepts, this show juxtaposes pop art with images of bridges, plumbing fixtures, and traffic signs to examine how the eye and the mind perceive engineering design.

  • In Motion: The African-American Migration Experience

    In Motion presents a new interpretation of African-American history, one that focuses on the self-motivated activities of peoples of African descent to remake themselves and their worlds. With 16,000 pages of text, 8,300 illustrations, numerous maps, and lesson plans, this exhibition documents 400 years of migration to, within and out of the United States.

  • James Gillray

    The golden age of English caricature, from the late 1770s to the second decade of the 19th century, encompasses the life of its leading exponent, James Gillray (1756-1815), who contributed in no small measure to the brilliance and audacity of the political, personal, and social satires of this period.

  • Lest We Forget: The Triumph Over Slavery

    Though victimized, exploited and oppressed, Africans in the Americas have been active, creative agents of their own history, culture and political future. Their story is about living, surviving, and winning in the face of seemingly insurmountable obstacles. Lest We Forget documents and interprets the obstacle-ridden but life-affirming experiences of the Africans who were enslaved in the Western Hemisphere.

  • Letters to Sala

    At age sixteen, Sala Garncarz entered the Nazi labor camp system, where she would be imprisoned from 1940 to 1945. During that time she was able to collect and preserve a collection of 300 letters sent to her by friends and family from outside and within the camps. The letters were recently donated to the Library''s Dorot Jewish Division by Sala's daughter, Ann Kirschner, and form the basis for the exhibition, in which they will be displayed for the first time. In passionate terms, the letters document the harsh consequences of the Nazi slave labor system on both the interned Jews and their torn families. They also reflect Sala's relationship with such noteworthy figures as Ala Gartner, one of four women hanged in Auschwitz after participating in an armed rebellion. Letters to Sala will reveal rare documentation of Nazi atrocities written by the victims of those events during the time they were unfolding.

  • Lewis Wickes Hine's "Work Portraits"

    Lewis Wickes Hine's self described "work portraits" series began shortly after World War I when he returned from Europe where he was working with the American Red Cross documenting the plight of war refugees. This time, instead of documenting the decrepit working conditions of men, women and children in American factories, he chose to glorify the inextricable communion between the worker and the machine in a more positive way.

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