• Keith Arnatt, Invisible Hole Revealed by the Shadow of the Artist, 1968, gelatin silver print, 24 × 29 3/4". From “Conceptual Art in Britain: 1964–1979.” © Artists Rights Society (ARS) New York, NY/DACS, London.

    “Conceptual Art In Britain: 1964–1979”

    Tate Britain
    April 12–August 29, 2016

    Curated by Andrew Wilson with Carmen Juliá and Isabella Maidment

    There was a time during the 1970s when a number of American artists sought to align themselves with the distinctly British variant of Conceptual art. These were the days of Art & Language in New York, a congregation that ballooned to several dozen members before dissolving in some acrimony—after which British Conceptualism dropped into something of a memory hole, even in the home country. “Conceptual Art in Britain” will provide an opportunity to relive this moment with hundreds of archival documents and seventy-odd works by uncompromising British practitioners like Michael Baldwin and Terry Atkinson, whose version of a participatory ethos asked viewers to match their own engagement across a stringent philosophical curriculum. By way of leavening that rigor, the warmth and wit of no less cerebral artists—such as Michael Craig-Martin and Keith Arnatt—will provide the complementary dimension of a vital time in art, much in need of recollection.

  • Lynn Hershman Leeson, Seduction of a Cyborg, 1994, digital video, color, sound, 6 minutes 48 seconds. From “Electronic Superhighway (2016–1966).”

    “Electronic Superhighway (2016–1966)”

    Whitechapel Gallery
    77 - 82 Whitechapel High Street
    January 29–May 15, 2016

    Curated by Omar Kholeif with Séamus McCormack

    Why do we still talk about the Internet in terms of driving a car? Networks, data, circuits: These are all non-spaces, incommensurable with the physical experience of distances or roads or freeways, yet we insist on using the most literal spatial terms—remember the Infobahn?—to describe them. I’m banking on “Electronic Superhighway” to rise above its Nam June Paik–derived title and kick into reverse gear, posing a new model for understanding the past fifty years of art, telecommunications, and information. The show begins with the digital present and works backward to the founding of the singular organization Experiments in Art and Technology in 1966, spanning more than seventy artists who have variously grappled with the aporias of the computational age.

  • Park McArthur, Private Signs, 2014, fifty-five UV-cured ink-jet prints on Dibond, overall 10' 8“ × 12' 4”.

    Park McArthur

    Chisenhale Gallery
    64 Chisenhale Road
    January 29–April 3, 2016

    Absorption is a loaded word in art history, but Park McArthur is not an artist who shies away from the loaded. Two of the more remarkable installations in recent memory are her Posey Restraint, 2014, a straitjacket strung drolly across a doorway between galleries in MoMA PS1’s Greater New York, and her 2014 Essex Street show consisting of twenty portable ramps, via which the artist, who uses a wheelchair, had accessed various buildings from 2010 to 2013. McArthur’s solo exhibition at the Chisenhale Gallery, her first in the UK, takes absorption as its theme, and will comprise four new series of works, including one featuring polyurethane foam as its main material and another using superabsorbent polymer powder. The former is made to absorb impact and sound, the latter to soak up liquid. Do you think the result will be a dry, safe, and silent show? Somehow I doubt it.