Jessica Morgan

ROBERT STORR’S lackluster performance as director of the 52nd Venice Biennale does unequivocally achieve one thing: It makes clear how stimulating and sharp Francesco Bonami’s 2003 version really was. Criticized by some at the time for its surfeit of artists, curators, and ideas, Bonami’s “Dreams and Conflicts” insightfully took on the pluralistic state of contemporary art, illuminating the coexistence of discrete but related dialogues in a series of exhibitions that took advantage of the many and divided spaces of the Biennale itself. “Dreams and Conflicts” not only introduced the work of countless artists who have continued to be relevant over the last few years, it also made evident—through the widely varying, globally representative voices of Carlos Basualdo, Catherine David, Massimiliano Gioni, Hou Hanru, Gilane Tawadros, Igor Zabel, and others—the important developments in curatorial

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