TABLE OF CONTENTS

WHITNEY BIENNIAL 1993

Thomas McEvilley

UP FRONT, AND IN BRIEF, I am friendly and favorable toward the current Whitney Biennial, both the curation and the work. This year’s show, as everyone knows by now, has turned away from the survey idea to provide a more intensive inspection of a single theme that the curators and director seem to feel deserves this special attention because of its comparative neglect in the past. The theme in question is, of course, politically motivated art emphasizing ethnic, cultural, and gender differences. I’m not interested in second-guessing the curators about precisely which artists or pieces they should have shown. Suffice it to say that most of it strikes me as serious and focused work that deserves to be leveraged into mainstream awareness. It is significant that, in the midst of the “culture wars” that began with right-wing attacks on the NEA in the late ’80s, a major museum has weighed in and

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