Explore Man Ray’s Creative Genius at The Met’s New Exhibit

The Metropolitan Museum of Art is presenting a comprehensive exhibition titled Man Ray: When Objects Dream, showcasing the multifaceted talents of the iconic artist. Open to the public until February 1, 2026, this exhibition features approximately 160 works that span various media, revealing the depth of Man Ray’s contributions beyond photography.

Upon entering the exhibit, visitors experience a unique atmosphere reminiscent of an old camera’s bellows. The darkened walls create an immersive environment, leading viewers to the flickering visuals of Man Ray’s early film, Retour à la raison (Return to Reason) (1923). The layout invites exploration, gradually unfolding to highlight the breadth of Man Ray’s artistic oeuvre, particularly his celebrated rayographs.

The exhibit opens and concludes with the series Champs Délicieux (Delicious Fields) (1922–59), where the prints evoke a tactile experience. The “rayographs,” created by directly exposing objects onto light-sensitive paper, transform physical items into ethereal representations. Observing these works in person emphasizes their materiality, showcasing the splashes of darkroom chemistry and the subtle textures that make each piece unique. Man Ray’s innovative approach is evident in the interactive features, such as the spinning print turnstile of Facsimile of Revolving Doors (1919), reflecting the Surrealists’ emphasis on tactility.

While Man Ray is primarily recognized as a photographer, this exhibition illustrates that he was much more than that. His artistic range includes film, painting, printmaking, stereography, and sculpture, revealing him as an inventive artist who engaged in playful experimentation with light and form. For instance, his cleverly designed portrait of an egg beater, L’Homme (Man) (1918), hangs in proximity to his cliché-verre The Egg Beater (1923), creating a dialogue between different artistic expressions.

One notable aspect of the exhibition is its organization and the descriptions accompanying the works. The interplay between a cheese grater motif seen in a painting and its subsequent impression in a rayograph illustrates how Man Ray connected various elements of his practice. This thematic arrangement allows visitors to appreciate the interconnectedness of his creations, positioning him as an artist-inventor rather than solely a photographer.

Nonetheless, the omission of the term “photogram” from the exhibition’s narrative raises questions. While the curators employ the term “rayograph” to highlight Man Ray’s unique branding, many visitors may leave with the misconception that this is the only term applicable to the technique of creating images from objects placed on light-sensitive paper. It would enhance the exhibition’s educational value to acknowledge that Man Ray was part of a larger movement where multiple artists were exploring photograms in the 1920s.

The exhibition continues with a rich selection of Man Ray’s works, including his Chess Set (1920) and Aerograph (1919), showcasing his versatility and playful spirit. The display of these pieces allows for a comprehensive understanding of his artistic journey and the innovative spirit that defined his career.

Overall, Man Ray: When Objects Dream at The Metropolitan Museum of Art is a testament to the artist’s enduring legacy. Curated by Stephanie D’Alessandro and Stephen C. Pinson, the exhibition invites both seasoned art enthusiasts and newcomers to engage with Man Ray’s work in a fresh and exciting way.