New York

View of “Liliana Porter,” 2018–19. Foreground: Tejedora (The Weaver), 2017. Background: Sin título (Autorretrato con cuadrado) (Untitled [Self-Portrait with Square]), 1973.

Liliana Porter

El Museo del Barrio

Following a yearlong renovation, El Museo del Barrio reopened its doors this past September. Its return felt like a rebirth uncommon in New York as of late: Rather than allowing itself to be seized and yuppified by financialized capitalism, this essential institution had instead seized and rethought its possibilities, community, and overall scope. Signaling this renewal is a survey of Liliana Porter’s oeuvre (on view until January 27), featuring thirty-five works from nearly fifty years, skillfully curated by Humberto Moro. By forgoing chronological order to focus instead on narrative themes, Moro has avoided a staid retrospective and put forward a strong case for the ongoing vitality of Porter’s art, which was underscored by a newly commissioned theater piece she performed a month later at the Kitchen in New York.

After landing in the city from Argentina in 1964, Porter cofounded the

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