• Terry Winters, Addendum/4, 2014, graphite on paper, 11 × 8 1/2".

    “Terry Winters: Facts and Fictions”

    The Drawing Center
    35 Wooster Street
    April 6 - July 29

    Curated by Claire Gilman

    Terry Winters has said that, as a young man mesmerized by Minimalism, he was led by the desire to draw “away from that blankness and toward developing an imagery that could play a role in my work.” This effort precipitated the atmospheric paintings inspired by scientific illustrations of organic specimens for which he first became known in the early 1980s. The seventy—eight works in this retrospective will follow Winters’s development from that time through the more fully abstract approach that has occupied him since the ’90s, with dense weaves of swirling, crisscrossing lines and scattered blips, and will include more recent drawings that reclaim shapes reminiscent of his earliest phase within the more complex spatial context he’s since developed—what he’s called a “vitalized geometry.” 

  • “Adrian Piper: A Synthesis of Intuitions, 1965–2016”

    MoMA - The Museum of Modern Art
    11 West 53rd Street
    March 31 - July 22

    Curated by Christophe Cherix, David Platzker, and Connie Butler

    She’s the greatest dancer. For more than five decades, Adrian Piper has advanced and everted that great whirl of thinking and form we too neatly call Conceptual art. Piper shows us how to do it right, perhaps most generously through her signature performance and video works. From Funk Lessons, 1983–84, and The Big Four-Oh, 1988, to her more recent Adrian Moves to Berlin, 2007/2017, in which she grooves to postmillennial Berlin house music in sunny Alexanderplatz, Piper kicks open your mind as she steps to the rhythm. It’s been over a decade since her last solo American museum show, and this retrospective is a big deal: More than 280 works will take over the entirety of MoMA's sixth floor—a first for a living artist. The exhibition will arrive with a new catalogue and a reader, both published by the museum, as well as an auto-biographical text produced by her research foundation in Berlin. Keep up if you can.  

  • “Danh Vo: Take my breath away”

    Solomon R. Guggenheim Museum | New York
    1071 Fifth Avenue
    February 9 - May 9

    Curated by Katherine Brinson with Susan Thompson

    In the Christian tradition, the “laying on of hands” is a way of transporting a spirit from one body to another. Danh Vo made a similar technique integral to his art. Starting with an array of scavenged objects, ranging from grand chandeliers to presidential pens, Vo alters them—in ways that are undetectable to the human eye—by imbuing them with an affective charge. At times, he cuts these items into pieces, as he did with Roman sculptures and, more metaphorically, the Statue of Liberty. And then there are the cardboard boxes that he emblazons with corporate logos. All of this has made Vo central to contemporary art and a mystical figure in a de-skilled world. If Vo’s practice often focuses on the displacement and migration caused by colonial regimes, this survey of the forty-two-year-old’s career promises to address America’s present state of decay.  

  • Manolis D. Lemos, dusk and dawn look just the same (riot tourism), 2017, still from the three-minute color video component of a mixed-media installation. From the 2018 Triennial: “Songs for Sabotage.”

    2018 Triennial: “Songs for Sabotage”

    New Museum
    235 Bowery
    February 13 - May 27

    Curated by Gary Carrion-Murayari and Alex Gartenfeld

    Three long years ago, under Obama’s presidency and a seemingly boundless neoliberal horizon, the last triennial investigated “new visual metaphors for the self” in an expanding digital surround. Today, as institutions falter and certitudes crumble, the Janus-faced character of technology reveals itself. While enabling new modes of identity construction and self-broadcast, it is also accessory to the rise of demagogues and the impoverishment of discourse, yielding social anomie and networks of fascism. Whereas 2015’s triennial examined an increasingly seamless interface between human and machine, the 2018 iteration—as its exuberantly Luddite title suggests—proposes smashing the machine altogether. How might art address an etiolated civil society, emboldened racism, hyperfinancialization, and precarity? “Songs for Sabotage” will bring together approximately thirty emerging international artists—all born after 1981—whose work appropriates and interrogates the “machines, roads, and digital systems” of a “system that seems doomed to failure.” But will the master’s tools, as Audre Lorde famously cautioned, ever dismantle the master’s house? Watch this space.

  • “Carissa Rodriguez: The Maid”

    44-19 Purves Street
    January 29 - April 2

    Curated by Ruba Katrib

    Biographies of New York–based artist Carissa Rodriguez tend toward descriptions of an itinerant practice  encompassing the roles of writer, artist, and gallerist and moving from an early solo show at American Fine Arts (1996) and a stint at the Whitney Independent Study Program (2002) to Rodriguez’s position as director of Reena Spaulings Fine Art from 2004 to 2015. But just as “Reena” serves as the collective nom de plume of the artist’s close colleagues—who engage in a stealth interrogation of the terms of artistic identity—Rodriguez insistently reflects on the figure of the artist relative to the circulation, valuation, installation, and reproduction of the work of art. Rodriguez’s solo exhibition at SculptureCenter (her first at a New York museum) promises to showcase the breadth of such investigations, with an emphasis on the artist’s digital films (both old and newly commissioned), two of which will be the focal point of the show. An accompanying catalogue will include essays from the curator and Leah Pires.

  • Marc Camille Chaimowicz, Bespoke Coat Hanger for Decorated Items, 2011, wood, paper, fabric, paint. Installation view, Indipendenza, Rome, 2016.

    “Marc Camille Chaimowicz: Your Place or Mine . . .”

    The Jewish Museum
    1109 Fifth Avenue
    March 16 - August 5

    Curated by Kelly Taxter

    In 1972, Marc Camille Chaimowicz, sharing a space with Gustav Metzger and Stuart Brisley, laid out an array of tinsel, tourist kitsch, and other tailings of human life lived on the floor, calling the piece Celebration? Real Life Revisited. The work’s title, along with its self—supported lighting scheme—the glow of devotional candles and gelled stage spots refracted by decommissioned disco balls—stands, now, as a prescient nod to the post-Fordist Thatcherism that was to come. Before the 1980s, however, the British artist, who was born in 1947 to a Polish Jewish father and a French Catholic mother, had traded his more public life for a deeper engagement with the domestic sphere, focusing on the affective, memory—storing properties of private interiors (literally: wallpaper, furniture, etc.). This exhibition, opening in March, will be Chaimowicz’s first large-scale US solo show. Expect numerous installations from 1978 through the present, as well as works created expressly for this occasion, with many exploring the (now certainly no less fraught) public/private divide.

  • Stephen Shore, Breakfast, Trail’s End Restaurant, Kanab, Utah, 2012, C-print, 16 7/8 × 21 1/4".


    MoMA - The Museum of Modern Art
    11 West 53rd Street
    November 19 - May 28

    Curated by Quentin Bajac with Kristen Gaylord

    Shore has long been revered for his glorious large-format color photographs from “Uncommon Places,” a record of his cross-country road trips of the 1970s and ’80s. Despite the photos’ lush Pop nostalgia for the American strip, what underlies the series and accounts for the continued influence of Shore’s work is his uncanny conceptual observation, utterly lacking sentimentality or irony. Taking the deadpan, saturation-enhanced look of the vernacular postcard as a point of departure, Shore has employed everything from plastic toy cameras to tripod-based view cameras to Instagram. All will be on display in MoMA's massive retrospective, which features more than seven hundred photographs, books (some of which are self-published), and archival materials and will be accompanied by an encyclopedic catalogue with contributions from the curators, David Campany, and Martino Stierli. Reared in Warhol’s Factory, Shore has always sought the strangeness and beauty of the banal: the everyday epiphany of a stack of diner pancakes.

  • François Morellet, Répartition aléatoire de 40.000 carrés suivant les chiffres pairs et impairs et d’un annuaire de téléphone (50% bleu nuit, 50% noir) (Random Distribution of 40,000 Squares Using the Odd and Even Numbers of a Telephone Directory [50% Night Blue, 50% Black]), 1961, silk screen on wood, 31 1/2 × 31 1/2". © Artist Rights Society (ARS), New York/ADAGP, Paris.


    Dia Art Foundation
    535 West 22nd Street, 4th Floor
    October 28 - June 2

    Curated by Béatrice Gross with Megan Holly Witko

    Consigned in the 1960s to that most damning of dustbins—the seemingly exhausted history of “European painting”—the expansive, endlessly experimental oeuvre of François Morellet (who died last year at the age of ninety) has received relatively little attention in the US. This focused presentation, the French artist’s first full-career survey on American shores, could prove a game changer. Bringing together nearly fifty works spanning seven decades, the show places a particular emphasis on Morellet’s abstract geometric paintings of the ’50s and early ’60s, when he developed his earliest rule-based systems and helped to found the legendary Groupe de Recherche d’Art Visuel (GRAV). Installed at Dia’s spaces in both Chelsea and Beacon, the show also selectively tracks the artist’s later series and installations incorporating neon tubes, adhesive tape, and other nontraditional materials. A full-color volume of scholarship accompanies the exhibition.

  • Gordon Matta-Clark, Bronx Floor: Boston Road, 1973, gelatin silver print, 11 × 13 7/8".


    Bronx Museum of the Arts
    1040 Grand Concourse
    November 8 - April 8

    Curated by Antonio Sergio Bessa and Jessamyn Fiore

    This exhibition promises to explore dimensions of Matta-Clark only touched on in previous retrospectives, homing in on his architectural projects of the 1970s. The artist adopted the sobriquet anarchitect, with a bow to the art brut painter Jean Dubuffet and in explicit opposition to his professional education at Cornell. But the work to be exhibited in the Bronx this fall—which will include preparatory drawings and documentation of his famous cuttings, including the highly complex incision through two seventeenth-century Parisian town houses that functioned as a viewfinder for the Centre Pompidou, then under construction—reveals a seriously competent architect’s eye. A large selection of Matta-Clark’s photography of walls and graffiti will demonstrate his considerable skill with that medium, too, and provide a record of his social and political activism—rounding out our understanding of this mercurial figure as one of the late twentieth century’s most radical thinkers. Travels to the Jeu de Paume, Paris, June 4–Sept. 23, 2018; Kumu Kunstimuuseum, Tallinn, Estonia, Mar. 1–Aug. 4, 2019; Rose Art Museum, Waltham, MA, Sept. 12–Dec. 15, 2019. 

  • Carol Rama, Le tagliole (The Traps), 1966, red fox hide and enamel on canvas, 23 5/8 × 19 3/4".


    New Museum
    235 Bowery
    April 26 - November 30

    Curated by Helga Christoffersen and Massimiliano Gioni

    Just two months after the widely traveled European retrospective “The Passion According to Carol Rama” closed in Turin, the first New York survey of the late Italian artist’s work opened at the New Museum. While it’s a shame “The Passion” didn’t cross the Atlantic, “Antibodies”—which features 175 works and an accompanying catalogue with essays by Italian writer and curator Lea Vergine and LA-based critic Sarah Lehrer-Graiwer—more than makes up for the loss. Spanning seven decades, the exhibition covers the full range of Rama’s practice, from the frank and fantastic eroticism of her early watercolors of the 1930s and ’40s, to the abstract abjection of the ’60s “Bricolages” and latex “vulnerable organisms,” to the carnality of her late-career figuration, embodied here in, for example, the mixed-media series “La mucca pazza” (The Mad Cow), ca. 1996–2001. “Antibodies” thus offers New York audiences a comprehensive—and long-overdue—consideration of Rama’s provocative representations of sexuality, illness, and the body.