Catherine David

  • Joy Gregory, Sunil Gupta, and Gordon Gabashane at the 1st Johannesburg Biennale, 1995. Photo: Martha Rosler.


    When Francesco Bonami, director of last summer’s Venice Biennale, famously wrote in his exhibition catalogue that “The ‘Grand Show’ of the 21st century must allow multiplicity, diversity and contradiction to exist inside the structure of an exhibition . . . a world where the conflicts of globalization are met by the romantic dreams of a new modernity,” it was reasonable to imagine that he was responding to structural and thematic questions posed by Okwui Enwezor in his Documenta 11 of the preceding year. After all, the Nigerian-born curator, focusing on the issue of globalization, had in a sense

  • Documenta X

    About five years ago, Catherine David and I met in my office at the Museum of Modern Art in New York to discuss Eva Hesse. I was writing an essay on the artist’s work for a retrospective at Yale University and she was organizing a Hesse show for the Jeu de Paume. I remember that she proudly announced her show would be different from any exhibition ever done in the United States, since Americans always approach Hesse from a formalist point of view.

    That was news to me. Given that the literature on Hesse tended to emphasize biography and psychology at the expense of formal analysis, David’s surprising