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17 НАШЕ ЖИТТЯ • Березень-Квітень 2025 Ukraine–Sweden: At the Crossroads of History (XVII– XVIII Centuries) (2010). Taras Shevchenko: Poet, Artist, Icon (1814–1861) (2014). Staging the Ukrainian Avant-Garde of the 1910s and 1920s (2015). Jaroslaw Leshko, Mykola Darmochwal, Prof. Renata Holod, Chryzanta Hentisz, and Adrian Hewryk. Since moving into its new building, the Muse- um has entered a new dimension of operations. It has enjoyed immense success, and New York City’s highly competitive cultural community has embraced and welcomed it. The Museum has pre - sented world-class exhibitions, and visitors from around the world have come to see them. Students from Ukrainian and area schools have benefited from them and have attended the Museum’s edu- cational programs and workshops, and its wonder - ful concerts, lectures, film screenings, and numer - ous other presentations have brought in capacity audiences. In April 2005, The Ukrainian Museum’s new build - ing opened with the magnificent inaugural exhibi - tion Alexander Archipenko: Vision and Continuity, curated by Jaroslaw Leshko, Professor of Art Histo- ry at Smith College. The majority of the works were on loan from the artist’s widow, Frances Archipen - ko Gray, and additional works were borrowed from other museums, including the Metropolitan Mu- seum of Art, the Guggenheim, and the Whitney in New York and the Hirshhorn Museum in Washing - ton, DC, among others. Over the years, the Muse- um’s most important exhibitions have highlighted the contributions that numerous generations have made to the rich cultural heritage of Ukraine — contributions that have also enriched the world’s cultural heritage in many spheres. The Archipen - ko exhibition and the Crossroads: Modernism in Ukraine, 1910-1930 exhibition (2006) were cases in point. Both were covered by the New York Times and numerous other news publications. The article on the Modernism exhibition in the Times started with the words “We thought these artists were Russian, but they were actually Ukrainian.” Many of the Museum’s exhibitions have also highlighted Ukraine’s struggle through centuries to preserve its heritage, a struggle that continues to this day. The new state-of-the-art building allowed the Museum to develop cooperative projects with oth - er museums, including international ones, particu- larly in Ukraine. Crossroads : Modernism in Ukraine, 1910-1930 was the first exhibition organized from Ukraine. Ukraine-Sweden: At the Crossroads of His - tory (XVII-XVIII Centuries), curated by Yurii Savchuk,
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