In her performance, Fraser plays the role of male feminists, both empathizing with them and exposing their failure to empathize with the goals of the Women’s Movement.
How the Museum Is Like a Prison
The Walls Turned Sideways exhibition at the Contemporary Arts Museum Houston implicates the museum as existing in the same landscape of money and power as the prison.
The Art Object as Institutional Critique
The artists in Décor urge viewers to question the creator’s role in the management and presentation of art.
Andrea Fraser Considers the Role of Artists and Institutions in the Rise of Right-Wing Populism
Eschewing the divisive polarization that has characterized much contemporary political discourse, Fraser examines the role that left-leaning artists and institutions may have played.
When Great Art Makes You LOL
Is funny art actually funny? The answer, as we see it, is a rousing chorus of “it depends.”
When Institutional Critique Doesn’t Go Far Enough
First let me tell you what it’s like to be here.
In New Orleans, an Exhibition Shines on the Surface
NEW ORLEANS — Gather enough bling in one gallery and the concentration of visual stimuli will overwhelm the need for a clear or convincing curatorial framework.
Could a Long-Forgotten Contract Settle the Artist Resale Royalties Debate?
With a group show simply titled The Contract, the Lower East Side gallery Essex Street encourages us to consider an old proposition: the “Artist’s Reserved Rights Transfer and Sale Agreement” by the pioneering dealer of conceptual art Seth Siegelaub and the lawyer Robert Projansky.
Films in 60 Seconds: Just Another Modern Monday
On Monday, September 30, the Museum of Modern Art opened another season of its Modern Monday series with a selection of screenings from the recently defunct One Minute Film Fest.