• Vik Muniz, Toy Soldier, 2003, color photograph, 90 x 72".

    Vik Muniz, Toy Soldier, 2003, color photograph, 90 x 72".

    Vik Muniz

    Miami Art Museum
    101 West Flagler Street
    February 10–May 28, 2006

    Seattle Art Museum
    1300 First Avenue
    November 10, 2006–January 14, 2007

    Contemporary Art Museum, University of South Florida
    4202 East Fowler Avenue CAM 101
    June 30–October 8, 2006

    Curated by Peter Boswell

    The largest survey to date of Vik Muniz's work will perforce showcase the artist's wide range of materials, from chocolate syrup to hole-punch confetti. Using these unlikely items, Muniz makes perceptual jokes (“clouds” drawn by planes) and reconstructs images appropriated from various sources (LIFE magazine, Renaissance art). He then photographs the results, exhibiting the pictures rather than the elaborate creations themselves. Like his Neo-concrete predecessors, Muniz makes works that are both playful and socially aware, as in “Sugar Children,” 1996, his series depicting the children of exploited plantation works—in sugar. This show comprises 109 photographs, a sky-drawing, and a book of new writings by the artist.

    Travels to the University of South Florida Contemporary Art Museum, Tampa, June 30–Oct. 8; Seattle Art Museum, Nov. 10, 2006–Jan. 14, 2007; and other venues.

  • Malcolm Morley

    Museum of Contemporary Art, North Miami
    770 NE 125th Street
    January 20–April 16, 2006

    Curated by Bonnie Clearwater

    Malcolm Morley stands among the preeminent living American painters, but the historical scope of his work is too little known in the US, his adopted country since 1958. This survey of forty paintings from the mid-'60s to the present is long overdue; it is, in fact, the artist's first in the US since 1983, when he was recast as a neo-expressionist (having first been pigeonholed as a Superrealist). Now, the grandeur of his work puts it far beyond mere labels: “Only when Morley's work is taken out of the movement of Photorealism do his interests come into focus,” maintains Clearwater. The show, which includes recent paintings, such as those of model-plane kits and current events in Afghanistan (most never before shown in the States), should reveal an oeuvre marked by radical switches but also by a deep inner consistency.

  • Lorna Simpson

    MOCA Geffen Contemporary
    152 North Central Avenue
    April 16–July 10, 2006

    Miami Art Museum
    101 West Flagler Street
    October 13, 2006–January 21, 2007

    Whitney Museum of American Art
    99 Gansevoort Street
    February 8–May 6, 2007

    Curated by Helaine Posner

    While working alongside the Pictures artists, Lorna Simpson pioneered a practice that applied Conceptual strategies to visual considerations of race and gender, earning her a place among the most influential artists to come out of the '80s. Now—two decades and countless exhibitions later—she is truly a force to be reckoned with. For the artist's first mid-career survey, American Federation of Arts curator Helaine Posner has gathered forty-six works—a healthy selection of early image-and-text pieces, seven major photographs on felt, six film installations, and a smattering of recent photographs. An all-star catalogue complements the show, with essays by Okwui Enwezor and Hilton Als and a conversation between the artist, Thelma Golden, and Isaac Julien.

    Travels to the Miami Art Museum, Oct. 13, 2006–Jan. 21, 2007; Whitney Museum of American Art, New York, Feb. 8–May 6, 2007; and other venues.