Francesca Gabbiani, The Wave, 2002, mixed media, 6' 6 3/4“ x 19' 8 1/4”.

Francesca Gabbiani, The Wave, 2002, mixed media, 6' 6 3/4“ x 19' 8 1/4”.

“Painting on the Move”

Museum für Gegenwartskunst, mit Emanuel Hoffmann-Stiftung

To examine the history of painting during the past century as a whole is a daunting task, fit only for the historian or curator with kamikaze fantasies. While the definition of painting as a medium is still relatively clear—despite numerous technical innovations and self-inflicted wounds—it seems futile to speak of painting as such without isolating specific issues and practices. Successful single-medium exhibitions tend to break down their subject into bite-size morsels (e.g., Paul Schimmel and Donna De Salvo’s “Hand-Painted Pop” at LA MoCA, 1992, or Laura Hoptman’s timely matchmaking in her three-way marriage of figurative painters John Currin, Elizabeth Peyton, and Luc Tuymans at New York’s MoMA, 1997), scouring specific historical moments or mapping out distinct strategies. Nonetheless, the urge to chart the entire development of a single medium persists within the museum world, and

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