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the Whitney’s new curators

IS THE WHITNEY remaking itself—again? When Tom Armstrong left in 1990 after seventeen years at the helm and David A. Ross took over as director, the museum supposedly jettisoned its predilection for artists from blue-chip SoHo galleries in favor of a wide-open, video-empowering, emerging-artists pluralism. After Ross’s departure to SF MoMA in 1998, his successor, Maxwell L. Anderson, nominally terminated the Whitney’s trendiness and retrenched the museum in its inherent strength: solid American modernism and a collection to back it up. Both Ross and Anderson brought in new curators to implement their top-down directorial styles. Now current director Adam D. Weinberg—on the job a mere eight months—has presented a slate of three new curators: Joan Simon, Elisabeth Sussman, and Donna De Salvo, set to take up their posts in July.

Just routine personnel changes? No, says Weinberg. A former

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