Kristin Romberg

  • “If Our Soup Can Could Speak: Mikhail Lifshitz and the Soviet Sixties”

    This quirky exhibition marks the fiftieth anniversary of Soviet critic Mikhail Lifshitz’s polemic The Crisis of Ugliness (1968). Lifshitz spent time at the famed Moscow art school VKhUTEMAS in the early 1920s before delving into a Marxist critique of the avant-garde. The resulting text earned him a reputation as a hard-line antimodernist, but also resonated uncannily with the contemporary insights of Guy Debord’s Society of the Spectacle (1968) and Peter Burger’s Theory of the Avant-Garde (1974). Recovering the critic’s oeuvre has


    This retrospective will present a melancholy variation amid the year’s bountiful exhibitions dedicated to the centennial of the Russian Revolution. The Kabakovs are known for their virtuosic exploration of the gap between utopian promises and the humiliating minutiae of Soviet everyday life. Comprising more than one hundred objects and accompanied by an extensive catalogue, the exhibition begins with Ilya’s central role in Moscow Conceptualism and includes three ambitious installations. Its subtitle (named after one of the installations) derives from an

  • “The Eccentrics”

    SculptureCenter’s Ruba Katrib has selected and commissioned sculpture, video, printmaking, and performance works from a strong cohort of eight artists for an exhibition whose curatorial premise is inspired by the Factory of the Eccentric Actor, founded in Petrograd in 1921. That group endeavored to employ biomechanical precision—in the way that circus clowns, magicians, and acrobats do—to court the unexpected and produce illusion. Contemporary practitioners Sanya Kantarovsky, Adriana Lara, Ieva Misevičiūtė, Eduardo Navarro, Jeanine Oleson, Georgia Sagri, Zhou Tao,