PRINT September 2002

James Meyer

DOCUMENTA PRESENTS ITS ORGANIZER WITH A DILEMMA. Should the outstanding exhibition of contemporary art—a show that surpasses all others in ambition, financing, and planning—simply present the best work, regardless of form and theme? Or should the curator impose strict parameters and choose art that fits his or her concept?

Recent directors have differed in their response. Jan Hoet's Documenta IX was notable for its openness, its refusal to favor one medium or theme. Catherine David's Documenta X explored the legacy of '68 and failed utopias, as well as the history of photo-documentation. This year's show, organized by Okwui Enwezor and a team of six curators, is even more focused. Its theme is globalization and its discontents—racial strife, class inequity, and the excesses of capitalism. The dominant medium is film and video projection, our current salon form. Much of the

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