In Otherwise Obscured, effacement, redaction, and illegibility are positioned as tactics that artists can employ to combat, highlight, or heal sociopolitical invisibility.
Jenny Holzer
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Jenny Holzer Hits Her Mark in a Major, Largely Unnoticed Retrospective
Having 40 years of Holzer’s work in one place means it’s possible to trace lines of activity that are subtler and more poetic than the broad strokes she’s most known for.
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A 1960s Sci-Fi Series Takes on Renewed Relevance
A group show featuring the likes of Jenny Holzer and Harun Farocki frames the dystopian world of 1960s British TV show The Prisoner as a harbinger of 21st-century surveillance capitalism.
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Connecting the Dots in the Met Breuer’s Show About Conspiracy Theories
Everything Is Connected: Art and Conspiracy spirals through 50 years of paranoia in America from JFK’s assassination to extraterrestrial touchdowns and September 11. But what does that even look like?
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San Francisco’s New Transit Center Features Public Art by Jenny Holzer, Julie Chang, and Ned Kahn
A new transit center filled with on-site public art opens in San Francisco.
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The Decade that Changed the Art World: Money, Media, and Brands in the 1980s
The primary takeaway of Brand New at the Hirshhorn is its demonstration of how high the stakes of representation became during the 1980s, a decade of proliferating imagery and technology.
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Topsy-Turvy Art for a World Turned on Its Head
P.P.O.W.’s exhibition is perfectly timed to dig into the rich seam of madness at the heart of our present cultural and political moment.
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Meandering Through MASS MoCA’s Vast Expansion
On May 28, Building 6, a three-story structure that was renovated by architecture firm Bruner/Cott, opened on the museum’s industrial campus and doubled its gallery footprint.
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Creature Discomfort: Art in the Cycle of History
It makes sense, at this most critical moment, to take a serious look at the art of the 1980s, its political fury and layered poetics, as an anchor in the storm.
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A Celebration of Women Who Made It to the Top of the Art World
LOS ANGELES — The current show at Sprüth Magers gallery, Eau de Cologne, has a title that might seem like a play on words (that’s what I initially thought), but it is actually quite straightforwardly unironic.