New York


P.S.1 Contemporary Art Center

It wasn’t too long ago that the fortieth anniversary of the Summer of Love held boomers and civilians alike in its onanistic thrall. Yet in a chastened—even anodyne—return, the 1960s now invoked more frequently come at the decade’s end. This exhibition, for one, means to recover the heterodox production of 1969 through a full-floor survey of works made that year. Perhaps it is unsurprising that we find our times reflected in this earlier postdiluvian climate, but that is not really the point. Indeed, in spite of originating in “a period marked with revolution and socio-political tumult,” as the P.S. 1 press materials synopsize, “1969” comes off as surprisingly bloodless. Politics here are mostly local, which is to say self-referentially institutional. Culled from all of the Museum of Modern Art’s departments, including its estimable archives, the exhibited works bespeak patterns of collecting

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