New York

View of “Marina Abramović,” 2014.

View of “Marina Abramović,” 2014.

Marina Abramović

Sean Kelly Gallery

View of “Marina Abramović,” 2014.

The two trajectories that perhaps best describe the last half decade or so of Marina Abramović’s career converged almost too tidily in Generator, the artist’s recent installation/performance at Sean Kelly and her first solo show in the city since her blockbuster 2010 retrospective at New York’s Museum of Modern Art. There’s no question that that exhibition transformed the estimable performance pioneer into arguably the art world’s biggest pop-culture celebrity. Yet the emergence of her new identity as crossover diva/consciousness-raising guru—complete with an OMA-designed “institute” and an often trite and tin-eared manifesto (“An artist should look deep inside himself for inspiration”; “An artist should not make himself into an idol”)—has also made the long-formidable artist an increasingly soft target for caricature. Tellingly, Abramović’s materialization into full-blown

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