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Whitney Biennial 2024: Even Better Than the Real Thing

A group exhibition is always—must be—a mélange of opportunity. It is a place one visits for the intensity of variety as opposed to the singularity offered by a solo operator. You don’t see the artwork so much as you grasp its relativity to the field in which it’s been placed. In this sense, every biennial is as much about the interactive relationships established between the artworks as it is oriented to any particular object. ....

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Artist Nancy Baker Cahill's New A.R. Work Unleashes A Surreal Interspecies Creature On The Terrace Of The Whitney Museum

Artist Nancy Baker Cahill's New A.R. Work Unleashes A Surreal Interspecies Creature On The Terrace Of The Whitney Museum
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Artist Nancy Baker Cahill's New A.R. Work Unleashes a Surreal Interspecies Creature on the Terrace of the Whitney Museum

The Whitney Museum hosts Nancy Baker Cahill's CENTO, an augmented reality artwork of a hybrid species designed to survive ecological disaster. ....

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Jaune Quick-to-See Smith: Memory Maps

In a conversation between Smith and Whitney director Adam Weinberg, the pair describe a tenet of Smith’s art as the act of “changing nouns to verbs.” In other words, Smith’s art aims to shift the role of Indigenous people as subjects that are mapped, or are the target of imperialist abstractions like defined frontiers, to that of mapmakers themselves. Smith’s mixed-media War-Torn Dress (2002) most overtly highlights the distinctions between the mapped and the mapmakers. ....

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