Adam Lehner

  • Kirk Varnedoe

    AT FIRST THE NEWS OF KlRK VARNEDOE’s departure from the Museum of Modern Art was a source of bafflement to much of the art world. The chief curator of painting and sculpture announced in October that he would be leaving his post in January to join the faculty of Princeton University’s Institute for Advanced Study, the super-prestigious think tank that has hosted the likes of Albert Einstein and Erwin Panofsky. Sure, Princeton might offer an ample supply of money and free time, as well as a high-minded atmosphere, but it seemed too soon for someone as famously dynamic as Varnedoe to trade in a

  • Nancy Davenport, Bombardment, 2001, color photograph, 38 1/4 x 50 1/4".

    Moving Pictures

    In the days following September 11, it was agreed upon by just about everyone that art, along with everything else, was going to “change forever.” No one was clear exactly how, except in the negative sense of “unlike this,” so many responded by putting a cloak over works, to hide them, if only for a little while, until they’d figured out what to do next. The Empire State Building’s art gallery, for instance, removed a 1945 photograph of a plane crashing into its facade. A radio network issued a ban on songs ranging from “Fly” by Sugar Ray to “American Pie” by Don McLean to “Imagine” by John

  • Catherine David

    IT CAME AS SOMETHING of a surprise to art-world observers when it was announced this summer that Catherine David, the quirky, possibly brilliant curator of the most recent Documenta, would take over from Bartomeu Marí as director of Rotterdam’s Witte de With come January. David, after all, once held prestigious curatorships at the Jeu de Paume and the Centre Georges Pompidou. The Witte de With has been in existence for just over a decade and puts on only six exhibitions a year. It is an important alternative space—Europe’s Dia perhaps—but one had to wonder: Couldn’t she have done better?

    Yet for

  • Tate Curators

    With the opening next month of the Tate’s Herzog & de Meuron–designed megabranch, Tate Modern, just down the Thames from the museum’s Millbank base, the exhibition space accorded modern and contemporary art at the institution will double. As the museum assumes its newly central role in the contemporary arena, Artforum looks in on the team that will shape the museum’s view of the present in the century to come.



    In the early ’90s, I asked the astute British critic Stuart Morgan what he thought of the work of Lars Nittve, then director of the

  • Lawrence Rinder

    WHEN MAXWELL ANDERSON was appointed director of the Whitney Museum of American Art almost two years ago, many in the contemporary-art world reacted like villagers who’d spotted Frankenstein’s monster lumbering in their direction. A Greek and Roman specialist, Anderson was said to know little about contemporary art. His management-oriented reorganization of the curatorial staff impelled Thelma Golden and Elisabeth Sussman, cocurators of the ’93 Biennial, one of the museum’s most controversial offerings of the decade, to flee. What’s more, Anderson cut the number of floors devoted to contemporary