new-york

View of “Fred Wilson,” 2018. Photo: Tom Barratt.

Fred Wilson

Pace | 510 West 25th Street

Intelligent, expansive, and elegantly trenchant, Fred Wilson’s exhibition at Pace was a clarion announcement of conceptual sophistication during the dog days of the summer gallery season. “Afro Kismet,” a sprawling collection of objects, images, paintings, and text, was shown in New York after being presented in slightly different forms at both the 2017 Istanbul Biennial (where it originated) and Pace’s London outpost earlier this year. The innovative strategies of research-based reappropriation and museological critique that Wilson employed in “Mining the Museum”—his landmark 1992 intervention at the Maryland Historical Society in Baltimore, in which he quite literally forced the institution’s collection to speak of previously elided or suppressed histories of racism and slavery by redisplaying and recontexualizing works contained therein—have become ingrained in wider contemporary

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