Walker Art Center
    725 Vineland Place
    March 30–July 28

    Curated by Pavel S. Pyś with Jadine Collingwood

    Walt Whitman’s ode to corporeality provides a fitting title for this ambitious survey highlighting contemporary art’s fascination with bodies mediated by technologies. Comprising scores of works made over the past six decades by artists such as Lynn Hershman Leeson, Sadie Benning, and Sondra Perry, the show pays particular attention to the interaction between bodies and screens. One of the exhibition’s most topical sections examines the “malleable body,” juxtaposing, among other pieces, Josh Kline’s Share the Health (Assorted Probiotic Hand Gels), 2011—three dispensers of hand sanitizer, one of which contains cell cultures collected from iPad-app developers—with Candice Lin and Patrick Staff’s installation Hormonal Fog (Study #1), 2016. The show’s concern with the body exemplifies the ways in which discussions of art and technology benefit when focused on themes that transcend the divide between pre- and post-internet art: Electric bodies may be the future, but they’re the past, too. Travels to Yerba Buena Center for the Arts, September 6, 2019–January 26, 2020.

  • Digital rendering of Theaster Gates’s sculpture Black Vessel for a Saint, 2017, as it will be installed in the Walker Art Center/Minneapolis Sculpture Garden.


    Walker Art Center
    725 Vineland Place
    June 3–November 30

    Curated by Olga Viso

    After a year of extensive renovation, a transformed Minneapolis Sculpture Garden opens in June with the aim of tying the garden, built by Edward Larrabee Barnes in 1971, to the Walker Art Center via a new plaza, entrance, and expanded lobby, all designed by HGA Architects and Engineers. While Barnes based his garden on extant European examples, HGA has instead emphasized the flora of the region, employing native plants and trees and using environmentally sustainable materials and building practices.Beloved fixtures of the original garden, such as Claes Oldenburg and Coosje van Bruggen’s Spoonbridge and Cherry, 1985–88, will keep company with more recently acquired pieces by American and European artists, including a spectacular new iteration of Katharina Fritsch’s Hahn/Cock, 2013/ 2016, originally commissioned for the Fourth Plinth in London’s Trafalgar Square.