New York

“1969”

Daniel Newburg Gallery

Group shows are a dime a dozen and usually they do little more than showcase gallery artists; but in curated exhibitions, ambition is always on the front burner. Chemistry is the measurement of success, whether between particular works in their circumstantial union or between works and words. As title, catalogue text, thematic or theoretical proposition, the curator’s words shape perception, coax forth contents, and promise insight. Some curators are known for overkill, others barely make their presence felt; some sew a show up so tight that it suffocates, others orchestrate intriguing puzzles that pose more questions than they provide answers. Robert Nickas is decidedly in the latter camp. The salient characteristic of “1969” is that it reveals no guiding principle other than that perception is historically specific and ultimately subjective.

The exhibition included a very good selection

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