New York

Barbara Kruger

Mary Boone Gallery/Deitch Projects

Don’t you hate it when the Times slams an artist you like? Not that you’re surprised, probably, when that artist is Barbara Kruger. The Deitch installation was her second in New York to literalize the experience of being shouted at, and if the last one, in 1994, was panned—and it was—the response was predictable this time. The review, however, was so utterly dismissive that you had the feeling of an opportunity being seized, or at least of the eruption of a desire that critics may periodically feel hut that (with the exception of Hilton Kramer) they usually opt to repress: the impulse to go for it, refusing a gentlemanly “Better luck next time” and implying instead that work like this should never have existed.

The formal genre of Kruger’s piece for Deitch—technologically sophisticated video installation in which people yell at you—has been explored, of course, by others. The notable figure,

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