New York

Barbara Kruger

Annina Nosei Gallery

Her pen was poised when her eye spied the April issue of Artforum. There, in the review section (page 69, to be exact), critic Donald Kuspit denounces Barbara Kruger’s “manipulations of the self-evident” which (sadly) fail to “provide information . . . not available elsewhere.” A comment that is, itself, “entertaining” in that it seems to confirm the artist’s work on what Roland Barthes called the “implicit proverbs” stating “the law of society,” which are less reflections of universal opinion than of a particular vision of the world. That the vision is male, exacting powerful repressions through its representations, resounds in the critic response. Caveat Kuspit . . .

Kruger’s recent exhibition extends and amplifies her use of the techniques of graphic tradition to articulate a specific feminist stance. All elements within these large black-and-white works are strategically conceived. This

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