How can code be used as a creative tool by artists and designers?This question motivates the work of the Future Sketches group at the MIT Media Lab. Led by artist and educator Zach Lieberman, the group aims to help us “see” code by using it to make artistically controlled, computer-generated visuals.Explore some of the latest research from the group that uses typography and digital tools to create interactive, creative, and immersive work.Located in our Martin J. (1959) and Eleanor C. Gruber Gallery.

How can you investigate something you cannot see?The challenge of understanding the unknown motivates scientists today, just as it has inspired curious people for centuries.Using material from the Allen Forbes Collection, this exhibit traces the scientific process of observing, measuring, and describing that turned whales from monsters into mammals.Using prints from the sixteenth through the nineteenth centuries, Monsters of the Deep examines how European knowledge about the creatures of the sea was informed by new information from sailors, scholars, and beachcombers, and how that knowledge transformed what people understood about the natural world.Want a closer look at what we have on view? You can explore digitized versions of exhibition objects here.On view through January 2026.

Hiroshi Ishii and the Tangible Media Group at the MIT Media Lab have pioneered new ways for people to interact with computers, with the invention of the “tangible user interface.”It began with a vision of "Tangible Bits," where users can manipulate ordinary physical objects to access digital information. It evolved into a bolder vision of "Radical Atoms," where materials can change form and reconfigure themselves just as pixels can on a screen. This experimental exhibit of three iconic works — SandScape, inFORM, and TRANSFORM — is part of the MIT Museum's ongoing efforts to collect the physical machines as well as preserve the user experience of, in Ishii's words, making atoms dance.Learn more about the exhibits here, or watch the YouTube video of Hiroshi Ishii's talk at the MIT Museum below.This is an ongoing exhibition in our MIT Collects exhibition.

Janet Echelman's Remembering the Future widens our perspective in time, giving sculptural form to the history of the Earth's climate from the last ice age to the present moment, and then branching out to visualize multiple potential futures.Constructed from colored twines and ropes that are braided, knotted and hand-spliced to create a three-dimensional form, the immersive artwork greets you with its grand scale presiding over the MIT Museum lobby.This large-scale installation by 2022-2024 MIT Distinguished Visiting Artist Janet Echelman, was developed during her residency at the MIT Center for Art, Science & Technology (CAST). Architect, engineer and MIT Associate Professor Caitlin Mueller collaborated on the development of the piece.The title, Remembering the Future was inspired by the writings commonly attributed to Søren Kierkegaard: "The most painful state of being is remembering the future, particularly the one you'll never have."As the culmination of three years of dedicated research and collaboration, this site-specific installation explores Earth's climate timeline, translating historical records and possible futures into sculptural form.Echelman's climate research for this project was guided by Professor Raffaele Ferrari and the MIT Lorenz Center, creators of En-ROADS simulator which uses current climate data and modeling to visualize the impact of environmental policies and actions on energy systems.Learn more about Janet Echelman and the MIT Museum x CAST Collaboration.Learn more about the exhibition at the MIT Museum.

On view October 1 -- December 11, 2025This exhibition draws on archival materials from the Aga Khan Documentation Center at MIT (AKDC) to explore a century of cultural heritage preservation in Aleppo, Syria. It takes as its point of departure the work of Kamil al-Ghazzi (1853–1933), the pioneering Aleppine historian whose influential three-volume chronicle, Nahr al-Dhahab fī Tārīkh Ḥalab (The River of Gold in the History of Aleppo), was published between 1924 and 1926.Ink, Stone, and Silver Light presents three modes of documentation—manuscript, built form, and photography—through which Aleppo’s urban memory has been recorded and preserved. Featuring figures such as Michel Écochard and Yasser Tabbaa alongside al-Ghazzi, the exhibition traces overlapping efforts to capture the spirit of a city shaped by commerce, craft, and coexistence. At a time when Syria again confronts upheaval and displacement, these archival fragments offer models for preserving the past while envisioning futures rooted in dignity, knowledge, and place.

TBA | Jin Li (HKU, visiting Sloan)