Browse Recent Exhibition Reviews

The exhibition Art in the Age of the Internet, 1989 to Today at the Institute of Contemporary Art/Boston (ICA/Boston) helped to contextualize the history of the internet’s development in light of how it is shaping our interconnected present and, as a consequence, contemporary art practices. Importantly, the exhibition revolved around the concept that the internet is a cultural product. Such a concept is a fundamental step toward departing from the assumption that technological progress is neutral. The exhibition reflected on the fact that the internet has permeated other artistic practices. As consequence, not only new media art is… Full Review

The stairwell leading down to the Museum of Contemporary Art Denver’s (MCA) first floor simulates the visual experience of a New York City subway. The walls are lined with DIY graffiti, written in a variety of colors and styles, offering the passage as a prologue for its exhibition, Wall Writers: Graffiti in Its Innocence. Graffiti historian, urban anthropologist, and guest curator Robert Gastman exhaustively examines the history of the early graffiti scene in New York and Philadelphia. Beginning in 1967 as youth started to routinely make marks on the streets, the study sets out to illuminate the… Full Review

The Restless Earth, curated by Massimiliano Gioni and organized by the Nicola Trussardi Foundation, was an ambitious exhibition that brought together more than sixty artists from over forty countries. It presented an exceptional ensemble of personal and collective works, which describe some of the most critical and debated issues of our society—migration, the current refugee crisis, and the phenomenon of globalization. The exhibition was on display at the Triennale di Milano Foundation, a center that explores the experimental languages of contemporary art, architecture, and design. The Restless Earth was displayed in a series of rooms, galleries, and corridors, which occupied… Full Review

The third and last iteration of Paint the Revolution: Mexican Modernism, 1910–1950 on view at the Museum of Fine Arts, Houston in 2017, is just one of the several exhibitions over the last five years that has sought to examine and complicate the story about the development of avant-garde movements in Mexico and their impact on the cultural and social life of the country. This latest surge of interest in modern Mexican art started with Vanguardia en México 1915–1930, organized by the Museo Nacional de Arte in Mexico City in 2013, and continued with the exhibition Modern Mexico Avant-Garde… Full Review

What distinguishes the Whitney Museum of American Art’s Calder: Hypermobility exhibition from other recent Calder exhibitions is its presentation of sculpture as performance art. Jay Sanders, the Whitney Museum’s curator of performance art, and his colleagues Greta Hartenstein and Melinda Lang advance the claim that, in order to be adequately apprehended, Calder’s sculptures ought to be seen and heard in motion or, as they would have it, in a state of activation. From the position of art historical argument, this seems so logical as to sound self-evident and therefore unworthy of serious consideration. However, in the museum setting, the implementation… Full Review

Seldom is an artist offered the opportunity of creating a complete space. Seldom is an artist offered complete control of the architecture, lighting, and contents of a venue, or given complete control of the experience of the spectator. More seldom still does a public museum afford such an occasion to an artist, allowing for the creation of a truly permanent installation. With the realization of Austin, the Blanton Museum of Art at the University of Texas at Austin accomplishes this rare feat, enabling Ellsworth Kelly (1923–2015) to join an elite list of artists of the twentieth and twenty-first centuries… Full Review

Clarence H. White and His World: The Art and Craft of Photography, 1895–1925 boldly rethinks the established histories of fine art photography’s development in America, a topic foundational to the history of photography’s origins as a discipline. Clarence H. White (1871–1925) was one of the leading photographers of the American Pictorialist movement, which advocated the practice of photography as a fine art medium. His life and work were conducted in surroundings as varied as the parlors and backyards of Newark, Ohio, a gracious urban townhouse in Harlem, shore cabins in Maine, and the modest farm buildings and open vistas of… Full Review

Georgia is a country in the Caucasus with a strong tradition of Eastern Christian art. Secular visual art developed here in the early twentieth century. Although it had been part of the Russian Empire since the early nineteenth century, Georgia enjoyed a brief period of independence as a democratic republic from 1918 to 1921. The capital, Tbilisi—or Tiflis, as it was then widely known—became an important destination for intellectuals fleeing the Bolshevik Revolution and the Russian Civil War. The city also quickly became a center for the international avant-garde. This overlooked chapter from the history of European modernism recently received… Full Review

The Danish-born immigrant, inventor, performer, and artist Thomas Wilfred (1889–1968) made art on his own terms, literally. He dubbed his brand of work Lumia, a neologism designed to break with the past and establish a new artistic genre consisting solely of moving electric-light displays. Fifteen of Wilfred’s works, dating from the 1920s to the 1960s, were painstakingly restored for this luminous, and illuminating, exhibition. Accompanied by a beautifully produced and informative catalogue, Lumia: Thomas Wilfred and the Art of Light offered a unique opportunity to be immersed in the work and ideas of an artist whose last retrospective was held… Full Review

Mona Hatoum: Terra Infirma at the Menil Collection, the artist’s first major solo exhibition in the United States in about two decades, presents an overview of Hatoum’s career in a nuanced yet direct manner. Hatoum’s work benefits from its quick metaphorical wit; however, this initial, deceptively easy clarity lingers and transforms into something else entirely, an experience underscored by the work’s placement throughout various rooms of the Menil Collection. Both artist and space offered the works for the viewer’s own interpretation, although attention to their specific historical and political context is frequently warranted by Hatoum. The majority of the exhibition… Full Review