“Greater New York”

AT THE PRESS CONFERENCE for “Greater New York,” organizers Klaus Biesenbach and Connie Butler (Neville Wakefield, the third organizer, was not present) admitted that it was a challenge to fill MOMA PS1’s large, awkward space on such a small budget. Their solution? To invite the artists to “move in and take it over,” in Butler’s words, thereby showcasing the “process of creation and the generative nature of the artist’s studio.” Whatever space remained would be used to stage complementary exhibitions—a cinema program in the basement, a “five-year review” of primarily performance-based work and a rotating gallery for smaller-scale exhibitions on the ground floor—all outsourced to other advisers. It is telling, then, that to define their own roles, Biesenbach et al chose to introduce themselves in the press material not as “curators” but as the more executive-managerial “organizers.” They

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