
Jessica Morgan
A CONFERENCE AT TATE MODERN in London this fall titled “Landmark Exhibitions: Contemporary Art Shows Since 1968” drove home to me the degree to which the major temporary events on the art-world calendar have replaced museums as the last, best hope for experimental exhibition making. Against the backdrop of a proliferation of blockbuster monographic shows in museumsto say nothing of those institutions’ meek or celebratory surveys of recent art whose critical theorization is limited to the vague moniker “contemporary”we have seen the memorable statements of Catherine David’s Documenta