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.

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

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the January 2019 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.