Director’s Note One of the pleasures and privileges of a visit to The Met Josef and Anni Albers Foundation, Bethany, Connecticut; is the ability to experience over ten thousand years of art Kathleen Nugent Mangan, Lenore G. Tawney Foundation, from around the world. Often we tend to focus in depth New York; and Jack Soultanian; as well as private collec - on a speci昀椀c region and time period in our permanent tors who wish to remain anonymous. galleries, exhibitions, and publications. But more and The exhibition was organized by Iria Candela, more it is important, relevant, and revelatory for us at The Estrellita B. Brodsky Curator of Latin American Art in Met to draw together works from different eras and cul- the Department of Modern and Contemporary Art, and tures to illuminate their correspondences, communalities, Joanne Pillsbury, Andrall E. Pearson Curator of the Arts of and creative processes in new ways. Weaving Abstraction the Ancient Americas in The Michael C. Rockefeller Wing. is such an example: two weaving traditions—one ancient, I also want to acknowledge and thank David Breslin, one modern—are brought together to allow us to consider Leonard A. Lauder Curator in Charge, Department of materials and meanings. Textiles from the Andean region Modern and Contemporary Art, and Alisa LaGamma, Ceil of South America, some over two thousand years old, and Michael E. Pulitzer Curator in Charge, The Michael C. are explored in parallel with 昀椀ber works created by four Rockefeller Wing. The exhibition is generously supported modern international artists to reveal the complex inter- by The Modern Circle. The quarterly Bulletin program is play between the fundamental grid structure of weaving made possible, in part, by the Lila Acheson Wallace Fund and formal expression. At its heart, Weaving Abstraction for The Metropolitan Museum of Art, established by the is about the aesthetic and cultural choices artists make, cofounder of Reader’s Digest. and how the technologies of 昀椀ber arts themselves can give rise to striking, inventive compositions. This Bulletin was prepared in conjunction with the exhibition Weaving Abstraction in Ancient and Modern Art, on view in The Helen and Milton A. Kimmelman Gallery in The Met’s Lila Acheson Wallace Wing from March 4 through June 16, 2024. We are grateful to the generous lenders to the exhibition: Marisa Wigglesworth, Kathryn H. Leacock, and Kacey Page, Buffalo Museum of Science; Glenn D. Lowry, Paola Antonelli, and Paul Galloway, The Museum of Modern Art, New York; Maria Nicanor and Susan Brown, Cooper Hewitt, Smithsonian Design Museum, New York; Timothy R. Rodgers and Elissa Max Hollein Auther, Museum of Arts and Design, New York; Nicholas Marina Kellen French Director and CEO Fox Weber, Brenda Danilowitz, and Karis Medina, The The Metropolitan Museum of Art 3