MoMA’s datasets employ the word classification to mean what one might otherwise define as type. The analysis of this data field naturally complements that of the department field, in that it offers a similar quantification of the distribution of acquisitions while providing a different lens through which to define its patterns. In this vein, this analysis closely follows the blueprint set by the analysis of the department data field.

As expected, the current composition of the collection, represented above by classification, draws a familiar picture with different colors, as it were. The main categorial players here appear to be consistent with the ones that characterize the distribution of acquisitions across departments.

How has this unfolded through time?

The bar chart above represents the number of acquisitions by department through time. Once again, 1964 and 1968 stand out as years in which sizeable amounts of acquisitions took place, but as opposed to the visualization presented in the departments section, this chart shows what types of objects were acquired – illustrated books and photographs respectively.

As we get more granular, we also notice the acquisition of almost 3,000 drawings in 2005, 2,500 prints in 2008, and the acquisition of Multiple starting in 2008 (Fluxus Collection). We also see a degree of consistency in the numbers of acquisitions of photographs since 1959, which becomes much more pronounced from 2005 onwards.

These same trends may be also readily identified in the animated bar chart below, though its strength resides perhaps in the effectiveness with which it dynamically highlights spikes.

This analysis outlines the types of works which are the core of MoMA’s collecting. These are prints, drawings, design, and certainly illustrated books; however, judging by the consistency with which the museum continues to acquire them, photographs and prints appear to be marked favorites.