Browse Recent Exhibition Reviews

A series of international flags stripped of their color by Wilfredo Prieto framed the entrance to the Museum of Fine Arts Houston’s presentation of Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950. Titled Apolítico (Apolitical, 2001), Prieto’s gray-scale flags guarded the balcony of the second-floor gallery where the exhibition was on view, as if demarcating neutral ground for the oft-contested field of Cuban art. Visible just beyond Prieto’s muted palette, a burst of color belonging to over fifty posters dating to the 1960s and early 1970s boldly announced some of the original political and cultural aims of… Full Review

A central (and not uncommon) problem confronts the curator of a white-box gallery who wishes to exhibit the work of Lonnie Holley, an Alabama-born artist and musician typically described as self-taught or vernacular: how to present the work within the conventions established by this type of institution while also acknowledging that the artist’s animating presence is necessary to the artworks’ significance. As Bernard L. Herman argues in a persuasive essay in Something to Take My Place: The Art of Lonnie Holley, the catalogue accompanying a 2015 exhibition at the Halsey Institute of Contemporary Art, “Performance stands at the heart… Full Review

“The narrative of this exhibition is a journey that sheds new light and permits new reflections on what has come to be oversimplified in the figures of ‘The Big Three’—Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros—and in the ubiquitous phenomenon of Frida Kahlo” (20), writes Agustín Arteaga, the newly appointed Eugene McDermott Director of the Dallas Museum of Art (DMA). In his introductory essay for the México 1900–1950 catalogue, Arteaga emphasizes how the exhibition—featuring more than two hundred works in a range of media including prints, paintings, drawings, and film—challenges the notion that the artistic repertory… Full Review

The title to the exhibition Art and Nature in the Middle Ages at the Dallas Museum of Art appeared in large gilded letters set upon a forest-green wall and framed by a lush foliate border similar to those gracing late-medieval manuscripts. The glittering composition signaled that something beautiful waited around the corner. A small creature, outlined in gold and similarly lifted from lively Gothic illuminations, playfully peeked from a lower corner of the same wall, imparting a lighthearted sensibility. Both impressions held true for this collection of largely Romanesque and Gothic objects from the Musée de Cluny–Musée National du Moyen… Full Review

The lights went out in New York City for two days in the summer of 1977, a summer marred also by more murders by the Son of Sam killer and a continuing fiscal crisis. In that time of crisis, privately funded arts groups stepped forward to enrich the city’s public-school programs with art classes taught by working artists. Forty years later, The City and the Young Imagination at the Museum of the City of New York looked back over the work of children in classes sponsored by one such group, Studio in a School (hereafter “Studio”), founded that fall under… Full Review

The exhibition Meleko Mokgosi: Pax Kaffraria consisted of a series of mural-size paintings that interwove historical narratives of postcolonial southern African countries with cinematic contemporary scenes from the daily lives of the individuals who uphold, live within, resist, define, and embody the nation-states. Mokgosi, born in Francistown, Botswana, and living in New York City, presented the project in eight nonlinear chapters, each one composed of three to eight canvases, with the exception of the first chapter, Lekgowa, which consisted of a single circular canvas. Six of the eight chapters of Pax Kaffraria were installed in the Grand Gallery of… Full Review

Nina Katchadourian: Curiouser is the first mid-career survey of the work of California-born New York–based Conceptual artist Nina Katchadourian (b. 1968). The exhibition explores ten major bodies of her work that include video, photography, sculpture, and sound art, addressing themes such as language, translation and interpretation, mapping and classificatory systems, sound and silence, awkwardness and the absurd, with a serious playfulness that has become the artist’s trademark. Organized by Veronica Roberts, curator of modern and contemporary art at the Blanton Museum of Art at the University of Texas at Austin, the exhibition is both intellectually stimulating and aesthetically powerful, displaying… Full Review

I first saw On Kawara’s work in person in 1998 at the retrospective exhibition Whole and Parts 1964–1995 at the Museum of Contemporary Art in Tokyo. At the time I was a graduate student in that city, and my memory of the show is marked by the architecture of the museum, with its rectangular spaces and high ceilings, where each of his bodies of work was assigned a separate space, objectivizing them and creating a sense of preciousness. Overall, the symmetric configuration of the spaces gave the impression that his work had arrived at a final destination, where it was… Full Review

After Midnight: Indian Modernism to Contemporary India, 1947/1997 looks at Indian and diasporic art from the last seventy years. Occupying much of the Queens Museum’s capacious ground floor, the exhibition, curated by art historian Arshiya Lokhandwala, is spatially as well as thematically organized along two now-axiomatic fault lines of recent Indian history: India’s independence in 1947 and the opening of India’s markets to international commercial interests under former Prime Minister Manmohan Singh in the 1990s. The year 1997 marked the fiftieth anniversary of India’s independence, which has spurred critical inquiry into the state of the nation and figures as one… Full Review

In the decades since Cindy Sherman established her photographic practice as part of the Pictures Generation of the 1970s and early 1980s, her work has provoked polarized opinions. Her relationship with feminism in particular has been hotly debated, with some insisting that her work reveals and subverts the patriarchal nature of the gaze, and others suggesting that Sherman’s use of masquerade merely reinforces the visual dynamics of fetishism. As Jui-Ch’i Liu has suggested, Sherman’s own ambiguous position regarding feminism has only added fuel to these debates (Jui-Ch’i Liu, “Female Spectatorship and the Masquerade: Cindy Sherman’s Untitled Film Stills,” History… Full Review