Basel

View of “Lee Lozano: Win First Don't Last Win Last Don't Care,” 2006, Kunsthalle Basel.

View of “Lee Lozano: Win First Don't Last Win Last Don't Care,” 2006, Kunsthalle Basel.

Lee Lozano

Kunsthalle Basel

THOSE WHO KNOW of Lee Lozano know she ditched the art world and stopped talking to women. But the fact is most people don’t know of her, because she ditched the art world and stopped talking to women. Feminism taught us long ago that history is written as much through its exclusions as through its master narratives. This has certainly been the case for art history, whose neglect of, and outright hostility to, women artists is amply documented. It is doubly odd, then, to come across the problem of Lozano, for the version of ’60s and ’70s art that most of us carry in our mind is marked by the total absence of her short but major career. “Lee Lozano: Win First Don’t Last Win Last Don’t Care,” a traveling retrospective curated by Adam Szymczyk, aims to change all that. In this exhibition Lozano’s oeuvre lands upon us so fully and with such finitude—its beginning, middle, and end splayed out

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