• Donald Judd, untitled, 1960, oil on canvas, 70 × 47 7⁄8". © Judd Foundation/Artists Rights Society (ARS), New York.

    Donald Judd, untitled, 1960, oil on canvas, 70 × 47 7⁄8". © Judd Foundation/Artists Rights Society (ARS), New York.


    MoMA - The Museum of Modern Art
    11 West 53rd Street
    March 1–July 11, 2020

    Curated by Ann Temkin and Yasmil Raymond with Tamar Margalit and Erica Cooke

    This spring, the sole Donald Judd retrospective in the US in three decades—titled “Judd,” in perfect step with the artist’s trademark directness—will offer many visitors their first chance to see a holistic presentation of the practice that has had such a massive impact on contemporary art and culture at large. Judd’s legacy as a crucial hinge between modernism and its postmedium aftermath has seemingly been exhaustively assessed, but by tracing the whole arc of his practice—with sixty paintings, sculptures, and drawings from his thirty-year career—MoMA promises to explore its radicality and complexity, which Judd’s affiliation with Minimalism, a movement now more or less thoroughly co-opted as design, may have obscured. As contemporary art wrestles with its own radicality and complexity, or lack thereof, there couldn’t be a better time to revisit an artist who doggedly confronted form, presence, and politics, both on the page and in “real space.”

  • Niki de Saint Phalle

    MoMA PS1
    22-25 Jackson Avenue at 46th Avenue
    April 5–September 7, 2020

    Curated by Ruba Katrib

    Florid, bodacious, and unabashed—all words apropos to the work of Niki de Saint Phalle, an aristocratic dropout and unruly visionary. The first exhibition of her work at a New York museum will feature more than one hundred works, including sculpture, prints, and jewelry, as well as documentation of her public works, including original models for and photographs and drawings of Tarot Garden, open to the public since 1998. Inspired by Antoni Gaudí’s Park Güell in Barcelona and Ferdinand Cheval’s Le Palais Idéal in southeastern France, and surely influenced by Simon Rodia’s Watts Towers in Los Angeles, the artist began building out her storied fourteen-acre sculpture park in central Italy in 1978 with a bountiful array of figures from the tarot deck, all rendered in plaster and gleaming mosaic atop of Etruscan ruins.

  • Gerhard Richter, Betty, 1977, oil on wood, 11 3⁄4 × 15 3⁄4".

    Gerhard Richter, Betty, 1977, oil on wood, 11 3⁄4 × 15 3⁄4".

    “Gerhard Richter: Painting After All”

    The Met Breuer
    945 Madison Avenue
    March 4–July 5, 2020

    Curated by Sheena Wagstaff and Benjamin H. D. Buchloh with Brinda Kumar

    This sprawling survey, Richter’s first in the US in seventeen years, will provide an opportunity for an uninitiated generation of American viewers to take stock of the work of the eighty-seven-year-old artist, whose status as a master of conceptually driven painting is, at this point, undeniable. Featuring more than one hundred pieces in a panoply of media (with, as the title indicates, an emphasis on paintings), the exhibition will display work never before seen on this side of the Atlantic, including the series “Cage,” 2006; the four-panel Birkenau, 2014; and Forest, 2005, a twelve-painting suite that will command its own immersive gallery. The show will be accompanied by a comprehensive catalogue with newly commissioned essays by its curators as well as by scholars Briony Fer, Hal Foster, Peter Geimer, and André Rottmann. In our era of political uncertainty and upheaval, a fresh engagement with an artist known for his confrontation of modern history’s darkest episodes seems most timely.

  • “Countryside, The Future”

    Solomon R. Guggenheim Museum | New York
    1071 Fifth Avenue
    February 20–August 14, 2020

    Curated by Rem Koolhaas and Troy Conrad Therrien

    Following his 2014 Venice Biennale project and its stocktaking of architecture’s “global” condition, Koolhaas, with a host of collaborators, takes on another “mutant form of human coexistence”: the countryside. Eighty case studies of the rapid transformation of rural environments across the planet—ambiguously described in press materials as “non-urban”—will appear in the form of films, documents, and paintings, speaking not of our tired romance with bucolic landscapes but of artificial intelligence, automation, genetic engineering, tax incentives, and managerialism. The emergent financialization that haunted Koolhaas's Delirious New York (1978) has spread worldwide, increasingly integrating the “non-urban” into its economic disposition. Given architecture’s territorializing logics, the exhibition prompts us to question the political consequences of a turn to rural environments: What other forms of collective existence or disobedience can be read in the countryside?