Browse Recent Exhibition Reviews

Focusing on art forms often seen as mechanical and austere, the exhibition Moving Vision: Op and Kinetic Art from the Sixties and Seventies at the Oklahoma City Museum of Art (OKCMOA) offered a surprisingly humanistic and sensual take on those two closely related movements. The time is ripe for reevaluation of Op and Kinetic art, which were frequently dismissed by critics of their day due to the perception of the art’s easy consumption, coziness with industry and popular culture, and superficiality (one critic derided Op art as “empty spectacle,” for example). The OKCMOA exhibition countered that assessment by… Full Review

After Hope is a groundbreaking exhibition that rethinks not only the importance of contemporary video art in Asia but also the premises and goals of its exhibition site, the Asian Art Museum of San Francisco, whose main focus is traditional Asian art. The physical installation of the show comprises a six-and-a-half-hour loop of fifty-four videos and an “ephemera wall” of texts and images contributed by the artists. While the physical installation of the exhibit runs through December 31, 2021, a thought-provoking program of working groups, workshops and events, and a continually updated digital platform, afterhope.com, have been organized since… Full Review

Co-organized by Maine’s Portland Museum of Art and Atlanta’s High Museum of Art, David Driskell: Icons of Nature and History surveys almost seven decades of Driskell’s art practice across painting, printmaking, and collage. Curator Julie L. McGee gathered lesser- and well-known works created between 1953 and 2011 with a keen interest in highlighting David Driskell (1934–2020) as an artist, a lifelong occupation eclipsed at times by his outsize influence as a scholar of American and African American art. The inimitable Driskell inhabited a colorful life as a groundbreaking art historian, curator, professor, and collector dedicated to chronicling artists of African… Full Review

Context always matters in the perception and reception of art, but in the case of annual or biennial exhibitions designed to take the pulse of a particular place at a particular time, context is crucial. Made in L.A. 2020: a version was, through no fault of its own, vexed in this regard. Between the show’s organization and its opening to the public, delayed by nearly a year, the political and social landscape of Los Angeles and the nation as a whole shifted radically with the killing of George Floyd, Breonna Taylor, and too many others, the rise of the Black… Full Review

As viewers enter Carolina Caycedo’s solo exhibition at the Museum of Contemporary Art (MCA) Chicago, they are greeted by a sculptural ofrenda, or offering, that suspends in absolute stillness from the ceiling. Composed of vibrantly colored fishing nets that stack to form a conical-shaped tent or skirt, the sculpture Limen (2019) welcomes viewers with the scent of fresh flowers that hang almost at their feet. Reminiscent of the Mexican marigolds seen in Día de los Muertos altars, red, yellow, and orange flowers rest on a wooden gold-panning bowl suspended from the sculpture, evoking the greed of colonial… Full Review

Panteha Abareshi’s solo exhibition Tender Calamities—presented in both physical and online formats at the Los Angeles Municipal Art Gallery (LAMAG)—highlighted the complexities of illness and disability. Originally hailing from Canada, Los Angeles–based artist Abareshi (they/them/theirs) pressed their audience to reconsider the relationship between embodiment and its representations. Drawing from their own experience with chronic illness and the othering of the sick and disabled body, Abareshi confronted the trauma and violence of the medical industrial complex and how ostracizing and objectifying the experience of seeking care can be. In turn, LAMAG’s exhibition layout did double duty, showing the… Full Review

Between late February 2020, when the de Young Museum’s exhibition Uncanny Valley: Being Human in the Age of AI originally opened, and when it reopened in spring 2021, the show—one of the first devoted solely to contemporary artworks about artificial intelligence—has only become more apt. Those fortunate enough to shelter in place throughout the pandemic have experienced life through the mediation of intelligent machines to an unprecedented extent. AI has proliferated in recent years in large part because it thrives on the vast quantities of data extracted from our time spent on web platforms. As work and life migrated online… Full Review

The Moscow Design Museum was founded in 2012, at a time when Soviet design was gaining popularity among both Western and Eastern European historians of the Soviet Union and late socialism. Since then, the museum has staged temporary exhibitions in different venues in Russia and abroad. In 2019, however, it became a permanent part of the western wing of the New Tretyakov Gallery on Krymskii val in Moscow. The show Peace! Friendship! Design! The History of Russian Industrial Design was the first step toward establishing the museum’s permanent exhibition space. Curated by Azat Romanov, Olga Druzhinina, and Aleksandra Sankova and… Full Review

No Wrong Holes: Thirty Years of Nayland Blake offered the most comprehensive survey of Blake’s work to date, traveling to the MIT List Visual Arts Center from the Institute of Contemporary Art, Los Angeles. The exhibition was organized in a loose chronology, showcasing the artist’s ongoing struggle to contain the multiplicity of lived experiences within one body or one object. For Blake this struggle is a generative one, producing work that can inhabit or frame the incongruencies between the realities of livelihood and forms of representation. As Blake is a biracial (African American and white), queer person, their multidisciplinary practice… Full Review

Five years in the making and developed in close collaboration with the artist by Christine Y. Kim (Los Angeles County Museum of Art) and Rujeko Hockley (Whitney Museum of American Art), Julie Mehretu presents over two decades of the artist’s compelling work. The exhibition demonstrates how Mehretu’s practice, rooted in drawing, the global history of painting, and an evolving engagement with materials, surfaces, and spaces, achieves unprecedented monumentality without sacrificing the intimacy of mark making and imagery. Consistent with the novelty of Mehretu’s art, Kim and Hockley’s artistic organization of the accompanying catalog enriches the viewer’s engagement with the artwork… Full Review