REVIEWS

“Never Free to Rest”

KURIMANZUTTO, Mexico City

View of "Never Free to Rest," kurimanzutto, Mexico City, 2017.
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Devon Van Houten Maldonado

What does it mean to present a group show of black artists based in the United States and United Kingdom—Mark Bradford, Charles Gaines, Rodney McMillian, Julie Mehretu, Kara Walker, and Lynette Yiadom-Boakye—in Mexico City? Here, the white/black binary of racial discourse in the US and (to a lesser extent) Western... continue reading
“Pacific Standard Time: LA/LA”

VARIOUS LOCATIONS, Los Angeles

Press photo (anon.), Founding co-editor of La Raza Ruth Robinson (right) with Margarita Sanchez at the Belmont High School Walkouts, March 8, 1968, 1968.
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Jennifer Piejko

During his two terms as mayor, Eduardo Paes rewired Rio de Janeiro into a leading “smart city”—a raise of the six-million-resident city’s foundation that he was able to parcel out into a few crisp segments of a neat, satisfied TED talk. He dispensed the recipe for urban achievement: find and... continue reading
View of Joep van Liefland's “Time to Die,” Nanzuka Gallery, Tokyo, 2017.
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Nick Currie

It felt entirely appropriate to see “Time To Die”— Joep van Liefland’s first solo exhibition in Japan—on Halloween. As evening fell, the Blade Runner-esque streets around Nanzuka Gallery began to seethe with a human froth of staggering zombies, gibbering corpses, and wounded cosplay nurses. Despite their macabre costumes, the crowds... continue reading
Jakarta Biennale 2017, “Jiwa”

VARIOUS LOCATIONS, Jakarta

External view of Museum of Fine Arts and Ceramics, Jakarta Biennale, 2017.
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Melissa Gronlund

The 2017 edition of the Jakarta Biennale proposes a soulful understanding of Indonesia, in which “jiwa” reigns. Jiwa is a pre-Islamic, polytheistic, and specifically Indonesian concept that signifies a way of living in which thinking and feeling go hand-in-hand, and of living in harmony with nature and with one another.... continue reading
Douglas Huebler’s “Works from the 1960s”

PAULA COOPER GALLERY, New York

View of Douglas Huebler’s “Works from the 1960s,” Paula Cooper Gallery, New York.
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Kim Levin

“The world is full of objects, more or less interesting; I do not wish to add any more. I prefer, simply, to state the existence of things in terms of time and/or place.” That once startling, now iconic statement by Douglas Huebler (1924–1997) was crucial to the foundation of Conceptual... continue reading
View of Charlie Godet Thomas’s “Roman-fleuve,” Vitrine, Basel.
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Aoife Rosenmeyer

An exhibition vitrine in a contemporary exhibition is a knowing nod to long traditions of display. By recreating a form of museum presentation, it relates to what Tony Bennett calls the “museum idea”(1) and its way of defining knowledge and, more broadly, power. Museums, according to Bennett, are places where... continue reading

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