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| In the Tower: Nam June Paik Drawn from Nam June Paik's estate as well as from the Gallery's own collection, the exhibition of 20 works centers on one of Paik's most dynamic pieces, One Candle, Candle Projection (1988–2000), in which a candle is lit daily and a video camera follows its progress. Two other closed-circuit works share the main room of the Tower Gallery, one involving eggs, the other a bronze Buddha. The adjoining room features works on paper and a short film about Paik (1932-2006). March 13–October 2 East Building, Tower Gallery
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| Lewis Baltz: Prototypes/Ronde de Nuit From 1967 to the early 1970s, Lewis Baltz (born 1945) examined the postwar industrial landscape of California in a series of photographs titled Prototypes. As part of the first exhibition dedicated to this series, some 50 Prototypes are on view along with sculptures by Sol LeWitt and Donald Judd as well as prints by Richard Serra—key participants in the avant-garde dialogue that inspired Baltz. The exhibition also includes the 12-panel color work Ronde de Nuit (1991–1992), a mural-sized tableau of surveillance sites and the people who work in them. March 20–July 31 West Building, Ground Floor
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| Joaquin Torres-Garcia, Untitled Composition (1929) A rare example of Torres-Garcia's mature style, this painting features his signature delicate layering and subtle painterly touch, with symbols filling the vertical-horizontal grid. They embody what Torres-Garcia (1874–1949) called "universal constructivism," proposing a harmony between the intellect (represented here by the triangle and clock), the emotions (the house), and nature (the fish and the elephant). East Building, Upper Level
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| Lecture Romare Bearden and the Aesthetic of the Grotesque Romare Bearden, American Modernist is a new publication of the Gallery's Center for Advanced Study in the Visual Arts. To celebrate the volume, Mary Schmidt Campbell, dean, Tisch School of the Arts, New York University, presents a lecture exploring Bearden's reconstruction from seemingly conflicting sources of a coherent iconography that acknowledges both the history of art and the history of American visual culture. (Image: Mary Schmidt Campbell) March 14, 4:30 East Building Auditorium
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| 60th A. W. Mellon Lectures in the Fine Arts The Twelve Caesars: Images of Power from Ancient Rome to Salvador Dali Mary Beard, professor of classics, University of Cambridge, delivers the 60th Mellon lectures. The six-part series explores the astonishing variety of images of Roman emperors, from ancient to modern. Beard also discusses how striking and sometimes disturbing these images of ancient power still are, from the hints of luxury and excess they convey to the idea that any ineffectual modern politician is like a new emperor Nero—fiddling while Rome burns. The first lecture, Julius Caesar: Inventing an Image, takes place on Sunday, March 27. (Image: Mary Beard) March 27, 2:00 East Building Auditorium
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| Film Series Remembering Risorgimento To celebrate the 150th anniversary of the Italian unification movement, the Gallery presents three works that incorporate rich motifs from the era. Together they offer radically dissimilar styles and different ideological perspectives. The centerpiece is the new restoration of Visconti's epic Il Gattopardo, along with the Taviani brothers' Allonsanfan and Blasetti’s 1860. (Image: Still from Il Gattopardo (The Leopard), Luchino Visconti, 1963, Italian with subtitles, Photofest) March 12, 13, 19 Times vary; see individual dates East Building Auditorium
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| Concerts French pianists Wilhem Latchoumia and Francois Chaplin play recitals in honor of Gauguin: Maker of Myth on Wednesday, March 2, and Sunday, March 20, respectively. In honor of Women's History Month, female performers and composers are featured in the concerts on Wednesday, March 23, and Sunday, March 27. (Image: Pianist Wilhem Latchoumia) March 2 and 23, 12:10 East Building Auditorium March 20 and 27, 6:30 West Building, West Garden Court
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| Teacher Workshop Gauguin: Maker of Myth This workshop examines Paul Gauguin's role as storyteller and mythmaker through his reinvention of narratives drawn from his European heritage or from Maori legend, his use of religious symbols, and the manipulation of his own artistic identity. Teachers of social studies, language arts, or any discipline concerned with mythology may register now. Fee: $10 (Image: Paul Gauguin, Self-Portrait, 1889, oil on wood, National Gallery of Art, Washington, Chester Dale Collection) March 26, 10:00–3:00 Education Studio, Concourse
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| Podcasts of 2010 Mellon Lectures by Mary Miller Over the course of five Sundays in spring 2010, Mary Miller, Yale University, presented the 59th A. W. Mellon Lectures in the Fine Arts, titled Art and Representation in the Ancient New World. This five-part lecture series offers an overview of pre-Colombian art history, with detailed discussion of time, beauty, and truth in the visual cultures of ancient and colonial Mesoamerica.
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| NGAkids: SEA-SAWS SEA-SAWS is a new interactive activity developed by the Gallery's education department. Young artists choose photographs of natural and man-made objects, then assemble the pieces to create a seascape or an abstract composition. A "build" option allows them to construct animated characters and set them in motion. This Art Zone program is fun for children of all ages. (Requires Shockwave)
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| Sculpture Garden Ice Rink The Sculpture Garden Ice Rink will remain open through March 13, weather permitting. Skating in the parklike setting, surrounded by the grand architecture of national museums and monuments, is enhanced by views of splendid large-scale sculpture by such modern and contemporary artists as Louise Bourgeois, Alexander Calder, Roy Lichtenstein, Roxy Paine, and others from the Gallery's renowned collection. Monday–Thursday, 10:00–9:00; Friday and Saturday, 10:00–11:00; Sunday, 11:00–9:00 Weather permitting 9th Street and Constitution Avenue NW
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| Vincent van Gogh, The Olive Orchard (1889) Van Gogh completed at least 15 paintings of olive trees—a subject he found both demanding and compelling. In the expressive power of the ancient and gnarled forms of the olive trees, Van Gogh found a manifestation of the spiritual force he believed resided in all of nature. His brushstrokes make the soil and even the sky seem alive with the same rustling motion as the leaves, stirred to a shimmer by the Mediterranean wind. West Building, Ground Floor, Central Gallery
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