TABLE OF CONTENTS

WHITNEY BIENNIAL 1993

Liz Kotz

IN A WELCOME EFFORT TO redress the backseat status of time-based media like video in the market-driven art world, this year’s Biennial includes eight “video installations” and two extra video screening rooms in the main exhibition galleries. Presumably, the intention is to produce a critical interaction between work in the visual and media arts; unfortunately, the results are dispiriting.

While the incidental use of TV monitors in room-sized installations by Renée Green, Daniel J. Martinez, and Fred Wilson may be a healthy sign—video is now a tool like any other—the superficial engagement with the medium evidenced in these pieces, like the “theory lite” paraded throughout the curatorial essays, only highlights the relatively backward and derivative cast of discussions of cultural difference and identity within the art world. While brighter spots include Shu Lea Cheang’s Channels of Desire

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