PRINT December 1995

Klaus Kertess


If I don’t say so, who will? For me, the best exhibition of 1995 was the WHITNEY BIENNIAL, because it was the one I learned the most from. Besides, any show that makes as many new enemies for the curator as this one did for me must be important.

So what did I learn? Much I learned by osmosis, from being in so many studios; that knowledge can’t be verbalized and was, of course, the best part. I learned firsthand that the Biennial is a wonderful impossibility. I learned that today’s critical vocabulary must be enriched and simplified before it can actually touch art. I learned that my hope to highlight a purely visual intelligence without reverting to the glacial confines of formalism is a valid one. And I learned to love the work of Rirkrit Tiravanija.


I never think about the worst exhibition until Artforum calls; but the Museum of Modern Art’s recent video-artists

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