• Clockwise from top left: Jun Nguyen-Hatsushiba, Memorial Project Nha Trang, Vietnam. Towards the Complex. For the Courageous, the Curious, and the Cowards, 2001, still from a color video, 12 minutes. Chien-Chi Chang, The Chain (detail), 1998, installation with black-and-white photographs, each 61 3/4 x 41 3/4“. Sarah Morris, Midtown—Armitron (Madison Square Garden), 1999, house paint on canvas, 84 1/4 x 84 1/4”. Michael Wesely, 27.3.1997–13.12.1998 Potsdamer Platz, Berlin, 1997–98, color photograph, 68 7/8 x 78 3/4".

    the XXV Bienal de São Paulo

    Various Locations

    After a nearly four-year hiatus during which infighting and political posturing nearly brought about its demise, the Bienal de São Paulo resurfaced with an exhibition that was a compromise from its inception. In desperation two years ago the Bienal Foundation made the tactical decision to turn to a foreign curator, Alfons Hug, an act of disavowal akin to what academic departments call receivership: the “we can’t do it; you do it” approach to conflict (see News, January 2001). A German national who has held various curatorial and cultural-envoy positions worldwide (mostly with the Goethe Institut;

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