DIS. Positive Ambiguity (beard, lectern, teleprompter, wind machine, confidence). 2015. Installation view, Ocean of Images: New Photography 2015, The Museum of Modern Art, November 7, 2015–March 20, 2016. © 2016 The Museum of Modern Art. Photo: Thomas Griesel

In January I wrote about five artists who had come into MoMA’s collection through Ocean of Images: New Photography 2015, the most recent iteration of the New Photography series, which has a long history of bringing new works by young artists into the Museum.

This week’s offerings are bold, moody, experimental, and celebratory. Check out these highlights:

The view from Mori Tower, looking northeast. Photo: Anna Blair

On my first evening in Tokyo I looked out from the Mori Art Museum, on the 53rd floor of Mori Tower, and saw only the city, stretching to the horizon in every direction. Tokyo doesn’t seem to have any periphery, from this vantage point, but instead has multiple centers—and highways hinting at other centers unseen.

Summer is just starting to “warm up” this week. Catch the start of the season’s best exhibitions, music, and more.

On the wall at Science Museum, London. Photo: Veena Vijayakumar

I remember a high school chemistry teacher of mine singing a song about hydrogen and then asking our class to create our own piece (poem, painting, performance, anything) about our favorite element on the periodic table. Needless to say I will not forget the atomic mass of neon anytime soon. This combination of seemingly disparate disciplines not only allowed appreciation for both, but also lent to an enriched experience for us students.

David Tudor and Composers Inside Electronics. Rainforest V (Variation 1). 1973–2015. Sound installation of 20 objects, dimensions variable. Installation view, Broadway 1602. Courtesy Broadway 1602, New York

“My piece Rainforest IV was developed from ideas I had as early as 1965…. An offer came, which didn’t get realized…I was asked to make a proposal for a park in Washington. The idea was to have a sounding outdoor sculpture, so my mind began turning around. I thought, ‘wouldn’t it be wonderful if each sculpture sounded completely different from the other and the whole could be run by one machine . . . .'” – David Tudor

Whether you want to party or get political, this week has out-of-the-ordinary experiences for all ages.

A selection of monotypes from the Museum’s collection currently on view highlights the unique qualities of this printmaking process and reflects an enduring interest in the monotype medium within the context of an extended investigation into one artist’s experimentation with the technique: the exhibition Edgar Degas: A Strange New Beauty. To create a monotype, an artist draws with ink or paint on a metal plate, which is then sandwiched with a damp sheet of paper and run through a printing press.

Degas in Process: Make a Monotype workshop, May 10, 2016. Photo: Manuel Martagon. © 2016 The Museum of Modern Art, New York

For the past five weeks, we have organized a series of weekly monotype printmaking workshops, Degas in Process: Make a Monotype, in conjunction with the exhibition Edgar Degas: A Strange New Beauty, on view on MoMA’s sixth floor through July 24. Taking Degas’s innovative use of the monotype as a starting point, these workshops are led by teaching artists—Justin Sanz, Sophy Naess, Neil Berger, Kerry Downey, and Bruce Waldman—each of whom brings a unique creative approach to their session and offers a glimpse into the sustained relevance of the monotype technique in contemporary artistic practice.

Visitors creating an assemblage in Art Lab: Process. Photo: Martin Seck

Art Lab: Process is an interactive space where families and other museum visitors can discover different ways of making art and engage in their own creative process. As an educator in the space, I consider how I can help visitors maximize their time in the lab and in the museum.