• Nancy Spero, The Bug, Helicoptere, Victim, 1966, gouache and ink on paper, 19 x 23 1/4".

    Nancy Spero

    Museu d'Art Contemporani de Barcelona (MACBA)
    Plaça dels Angels, 1
    July 4–September 24

    Museo Nacional Centro de Arte Reina Sofía
    Calle de Santa Isabel, 52
    October 14–January 5

    Curated by Manuel J. Borja-Villel

    For more than fifty years, Nancy Spero has been, in her own words, “sticking [her] tongue out at the world” as a “woman silenced, victimized . . . hysterical.” MACBA's retrospective will present these gestures of defiance in some two hundred collages, gouaches, lithographs, and paintings—from Spero's earliest works on paper as an Art Institute of Chicago student in the mid-1950s to her installation Maypole: Take No Prisoners, 2007. Eschewing strict chronology, Manuel J. Borja-Villel's thematic organization should illuminate Spero's decades-long conflation of painting and writing, with an emphasis on her graphic output as a continuous “life project.” A catalogue featuring an interview with Spero and essays by Benjamin H. D. Buchloh, Hélène Cixous, and Mignon Nixon accompanies the show. Travels to the Museo Nacional Centro de Arte Reina Sofia, Madrid, Oct. 14, 2008–Jan. 5, 2009.

  • Erik Bulatov, I Am Going, 1975, oil on canvas, 90 1/2 x 90 1/2". © Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn.

    “Total Enlightenment—Moscow Conceptual Art, 1960–1990”

    Schirn Kunsthalle Frankfurt
    July 25–September 14

    Fundación Juan March
    Castelló, 77
    October 10–January 11

    Curated by Boris Groys

    Following the Schirn's 2003 exhibition “Dream Factory Communism,” in which philosopher, artist, and curator Boris Groys explored the manifold aspects and impacts of Soviet art under Stalin's regime, “Total Enlightenment” moves forward in time with a comprehensive survey of Conceptual art in late- and post-Soviet Russia. Featuring 130 paintings, installations, videos, drawings, and photographs by thirty artists, including Erik Bulatov, Ilya Kabakov, Komar & Melamid, Alexander Kosolapov, and Boris Mikhailov, this show aims to define Moscow Conceptualism as distinct from its Western counterparts and to examine how its artists, according to Groys, “privately, ironically, and profanely” appropriated and exploited the official discourse. Travels to Fundación Juan March, Madrid, Oct. 10, 2008–Jan. 11, 2009.