New York

Martha Rosler

Gorney Bravin + Lee

Conceptual and performance art by women in the ’70s have finally entered the herstory books. Retrospectives of the careers of Joan Jonas, Ana Mendieta, Yoko Ono, Carolee Schneemann, and Martha Rosler have all been mounted in recent years. Mary Kelly was in the last Whitney Biennial, and in 2002 at White Columns, “Gloria: Another Look at Feminist Art of the 1970s” introduced the likes of Hannah Wilke, Dara Birnbaum, and VaLIE ExPORT to a generation of artists who were standing on their shoulders. Such canonical adjustment is invaluable, but it’s not the same as new work being made by the pioneers. And, where canon building is concerned, it’s especially risky for such trailblazers to revisit now-famous projects, over which traces of their younger selves, bygone milieus, and accumulated critical judgments hang like an obscuring haze. Trust Rosler to be not only ornery enough to try but artist

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