![]() ![]() ![]() It was a marvelous demonstration of curatorial virtuosity, making plain that there is a virtually unlimited number of exhibitions constructable out of the contents of a single museum. The aggregate effect was to draw boundaries around modernism as a period style within the modern era and to show how much there is to modern art that falls outside those boundaries. Strikingly, none of the exhibitions was devoted to modernism as such, save perhaps Robert Storr’s “Modern Art despite Modernism.” But even there it merely skulked as the ghost of what we must call the Greenbergian paradigm, as Storr included modern works to which Greenberg would not have given the time of daypieces by Dali, for example, and Andrew Wyeth. 1 “Making Choices” (Museum of Modern Art, New York) A show of shows in two senses: It consisted of twenty-five separate exhibitions, some of which belonged in an inventory of the high points of 2000 in their own right and it was an epochal show, putting in question the entire concept of modern art. ![]()
0 Comments
Leave a Reply. |