Opposite Sexes

Artforum, Summer 2016. Cover: Barbara Kruger, special project for Artforum, 2016.

AS THE CURATORIAL TEAM of “Painting 2.0: Expression in the Information Age,” we feel the need to address one highly problematic aspect of Jack Bankowsky’s extensive review. While we recognize the author’s in-depth engagement with parts of the exhibition (and the accompanying publication), we strongly oppose his cursory take on the feminist argument that animates all three sections of “Painting 2.0.” This argument is most strongly put forward in—but not exclusive to—a section titled “Eccentric Figuration,” which, according to Bankowsky, might have been “sacrificed” in order to achieve a “more streamlined whole.” The streamlined whole he envisioned would not include artists associated with the feminist A.I.R. collaborative, whose objective was precisely to disregard the idea of a coherent aesthetic “brand” as well as modernism’s notion of progress (which, as many scholars

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