• Tishan Hsu, Liquid Circuit, 1987, acrylic, vinyl cement compound, alkyd, oil, and aluminum on wood, 7' 6“ × 11' 11” × 9".

    Tishan Hsu, Liquid Circuit, 1987, acrylic, vinyl cement compound, alkyd, oil, and aluminum on wood, 7' 6“ × 11' 11” × 9".

    “Tishan Hsu: Liquid Circuit”

    Hammer Museum
    10899 Wilshire Boulevard
    January 26–April 19, 2020

    Curated by Sohrab Mohebbi 

    By the mid-1980s, Tishan Hsu was already creating weird works informed by the impact of an increasingly technologized reality on our minds and bodies. The paintings and objects were strange and slow—totally disconnected formally from what Hsu’s fellow East Village artists were creating to popular acclaim at the time—but they presaged the concerns of an entire future generation of artists. Now that the art world has caught up to him, Hsu is finally receiving his first US museum survey. The exhibition, co-organized with SculptureCenter, New York, features close to fifty works spanning from 1980 to 2018, including soothing, screen saver–like abstract paintings, eerie sculptures made of ceramic tiles and cement, and early experiments with software, all capturing a specific historical juncture in the human relationship to technology, but in a visual language that feels ever more relevant today. Travels to SculptureCenter, New York, May 9–August 17.


    The Museum of Contemporary Art (MOCA)
    250 South Grand Avenue
    October 27, 2019–May 11, 2020

    Curated by Anna Katz with Rebecca Lowery

    Pattern and Decoration is often cast as a hedonistic countercurrent to Minimalism and Conceptualism, one that eschewed cool industrial surfaces and cerebral text-based strategies for a staggering panoply of craft processes, globally sourced motifs, and vibrant colors. Deliberately heterogeneous since its inception, the movement has remained largely marginal to narratives of postwar art. Its adept manipulation of received—and historically gendered—hierarchies nonetheless looks newly fresh in the current craftivist moment. Featuring nearly one hundred objects by roughly fifty artists, this exhibition—the first comprehensive scholarly survey of the P&D tendency—takes an expansive view of its subject, contextualizing signal works by canonical practitioners such as Joyce Kozloff, Kim MacConnel, and Miriam Schapiro, among others, alongside contemporaneous investigations by figures not typically seen in these environs, including Emma Amos and Billy Al Bengston. A catalogue accompanies the exhibition. Travels to the CCS Bard Hessel Museum of Art, Annandale-on-Hudson, NY, June 20–November 29, 2020.


    The Broad
    221 S. Grand Ave.
    October 19, 2019–February 16, 2020

    Curated by Ed Schad

    Shirin Neshat is a monument. For two and a half decades her work has graced legion exhibitions and book-length exegeses about women and artmaking in the Middle East. In her native Iran, she has inspired a million insipid copycats. In the West, she is regularly singled out as a spokesperson for the triumphs and tragedies of Muslim women. But to fixate on her monumentalization is to ignore the poetic virtues of her practice and commitment to exploring the legacies—personal and political—of revolution and exile. This exhibition, named after a poem by Forough Farrokhzad, Iran’s gloomily lusty Sylvia Plath, will bring together 150 works from the past twenty-five years, including the global debut of the artist’s newest video installation and photography series Land of Dreams. The piece spotlights a vagulous Iranian protagonist surveying a slice of the mono-cultural middle of the United States. A meditation on belonging and its opposite, it offers up a fitting fable for these times.


    ICA - Institute of Contemporary Art, Los Angeles
    1717 E. 7th Street
    September 29, 2019–January 26, 2020

    Curated by Jamillah James

    In Nayland Blake’s heroic, humble work, opposites not only attract but converse, empathize, coalesce, and grow. Largely arising from the artist’s identity and experience as a biracial and queer American, Blake’s work is critically steeped in complex representations of social prejudice while remaining deeply personal, vulnerable, and compassionate. “No Wrong Holes,” which presents nearly one hundred videos, sculptures, and drawings, represents decades of healthy artistic exploration: We find cultural symbols of innocence as erotic metaphors, BDSM equipment doubling as tender sculpture, and a bunny suit that expresses the literal weight of love. A Looney Tunes portable pothole yawns open as an abyss of death, and elegant assemblages of found trash refer to the likes of Jasper Johns and Richard Tuttle. Blake is a revered educator and artist’s artist who leads by example, making for a motivating show with the radical message that, although everything is not okay, everyone is okay.