Critics’ Picks

Pierre Huyghe, The Third Memory, 1999.

New York

“Moving Pictures”

Solomon R. Guggenheim Museum | New York
1071 Fifth Avenue
June 28–January 12

If you care about film-, video-, and photo-based art, you’re familiar with most of the work in “Moving Pictures.” But this is all the more reason to go, since the show—which includes about 150 works from the permanent collection by fifty-five prominent artists—offers the chance to separate the wheat from the chaff along the lines of your own predilections. Though there’s work dating back to the late ’60s, the exhibition actually functions like a greatest-hits reprise of the last twelve years. Many photographs here have been exhibited and reproduced extensively: While some works, such as those by Nan Goldin or Andreas Gursky, offer a lesson on how a singular vision can triumph over its own ubiquity, others, like Sam Taylor-Wood's, serve to crystallize notions of the ’90s period piece. Meanwhile, Pierre Huyghe’s double-screen meditation on the 1975 film Dog Day Afternoon justifies the price of admission all by itself. There’s something to be said for starting at the top of the Guggenheim’s rotunda with the more recent work: As you move from the fantasias of the last decade to Robert Smithson’s lo-fi Yucatan Mirror Displacements (1-9), 1969, you get the sense that you’re tracing the evolution of a universe to its origins in a single point, dense with possibilities.