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Leon Golub: Paintings 1950–2000 was a compelling exhibition of 39 paintings selected in consultation with the artist. These key works are supplemented by a large representation of Golub’s lesser-known political portraits.

Photographs by Gyula Halasz Brassaï, Henri Cartier-Bresson, and Hans Namuth offered a unique opportunity to peer into the studios and faces of a spectrum of the past century's artistic masters.

This exhibition featured a selection from the more than 500 prints gifted to the museum from the collections of F. Paul Norton and Frederic P. Norton.

This exhibition featured more than 70 prints and posters produced by Latino and Latin American artists in this country, as well as Argentina, Brazil, Cuba, Colombia, Guatemala, Uruguay, and Panama.

De Monchaux's exquisite constructions deal with gender, and blur the boundaries between the beautiful and the repulsive, the hard and the soft, the functional and the decorative.

The Albright-Knox owns 33 paintings by the abstract expressionist Clyfford Still, the largest public collection of the artist's work. These span the most critical developments of his career from 1937 to 1963 and as a unified group tell us a great deal about his primary concerns during a seminal period of activity.

This tightly focused selection of Tissot’s best works revealed him as the intelligent and complex artist that he was and celebrates his dramatic return to both popular and scholarly favor.

This selection of works on paper, organized by the Staatliche Graphische Sammlung in Munich, came primarily from Scully's private collection — which was not available to the public until this exhibition.

Since 1977, when the Albright-Knox presented its first In Western New York biennial open-call exhibition, this series highlighted the work of numerous talented artists within the 8 counties of Western New York.

Eugène Leroy's paintings pile layer upon layer of gnarled paint on canvas. This was the first solo museum exhibition in the U.S. of the highly regarded, then 90-year-old, painter from France.

Landscape at the Millennium combined 19th century landscape paintings from the collections of the Albright-Knox and the Parrish Art Museum, Southampton, New York, with two contemporary installations by painters Tobi Kahn and Pat Steir.

The perfected design of an Essenhigh painting, so seemingly resolved in every detail, belies the spontaneity that went into its creation. That the artist refers to her canvases as "giant drawings" confirms the primacy of draughtsmanship in her process.