Robert Rauschenberg’s 32-foot-long (~9.7-meter-long) silkscreen painting “Barge” (1962–63) will be among over a dozen works exhibited at the Solomon R. Guggenheim Museum in Manhattan this fall, part of a global celebration of the late American artist’s centennial. Slated to open October 10 and run through April 5, 2026, the exhibition Robert Rauschenberg: Life Can’t Be Stopped will reexamine the artist’s use of visual media and commercial printing techniques through notable works held in the Guggenheim’s collection, alongside loans from the Robert Rauschenberg Foundation. The show aligns with a string of programming at institutions around the world in commemoration of Rauschenberg’s birth, including the Museum Ludwig in Cologne, Germany; Fundación Juan March in Madrid, Spain; and the Museum of the City of New York in Manhattan. Robert Rauschenberg, “Cot” (1980)Originally from Texas, where he was raised with no formal art training, Rauschenberg is considered a pioneering figure of Pop art whose work was defined by his groundbreaking use of materials that challenged established notions of art disciplines — namely painting and sculpture. He is particularly remembered for his Combines series (1954–64), which integrated found objects and real-world images with abstract painting, and his collaborations with dancers, musicians, writers, engineers, and other artists.In the Guggenheim’s centennial presentation, “Barge” will return to the museum after nearly three decades, following its inclusion in a sweeping 1997–98 retrospective of the artist’s work. An amalgamation of transportation-related imagery and other recognizable visuals pulled from everyday life and Old Master paintings, it is the largest piece in Rauschenberg’s series of 79 silkscreen paintings and was produced largely during a single 24-hour period. Other key artworks that will be exhibited include the crimson mixed-media work “Untitled (Red Painting)” (1953–54) and an untitled silkscreen painting from 1963 centering on choreographer Merce Cunningham, one of the artist’s longtime collaborators.Joan Young, who worked on the 1997 retrospective as a member of the curatorial team and is now the Guggenheim’s senior director of curatorial affairs, told Hyperallergic in an email that the show primarily celebrates the artist’s legacy of “endless spirit of experimentation” that merged mediums and disciplines.Robert Rauschenberg, “Untitled” (1963)“His work encourages viewers to reconsider what art can be, embracing innovation, risk-taking, and the unexpected,” Young continued, citing the museum’s ongoing mid-career retrospective Rashid Johnson: A Poem for Deep Thinkers as an example of Rauschenberg’s enduring impact. Drawing from various disciplines including literature, philosophy, and music, the show meditates on contemporary Black culture, history, and identity through an array of spray-painted text canvases, black soap and shea butter sculptural installations, and video works.“Johnson, who works across performance, painting, sculpture, and more, is deeply influenced by Rauschenberg’s innovative approach and use of diverse media,” Young said.Alongside Life Can’t Be Stopped, a special performance program will focus on the artist’s dance collaborations by re-staging select works with the Trisha Brown Dance Company and Paul Taylor Dance Company on October 15 as part of the Guggenheim’s Works and Process performing arts series. Robert Rauschenberg, “Untitled [Hotel Bilbao]” (1952)Robert Rauschenberg, “Religious Fluke” (1962)