‘Vermeer’ at Rijksmuseum, Amsterdam<\/h2>\n<\/div>\n<\/div>\n![\"A](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/12\/GettyImages-1251751911.jpg?w=800\")
<\/p>\nA crowd observing Vermeer’s The Milkmaid<\/em> in his 2023 retrospective.<\/div>\nPhoto<\/span>\u00a0:\u00a0<\/span>Photo Ludovic Marin\/AFP via Getty Images<\/span><\/div>\n<\/figure>\n\nSometimes a blockbuster show is a victim of its own success. This was the case with this Vermeer retrospective featuring 28 paintings by the Dutch Old Master, including seven works never seen before in the Netherlands. Massive public interest resulted in tickets selling out within three days of its opening, unverified eBay listings marketed tickets priced as highly as $2,724, and the sale of more than 100,000 copies of the official catalogue. Even extended hours couldn\u2019t satisfy demand for the show, which was widely understood to be a once-in-a-lifetime chance to see works that are rarely loaned. \u201cVermeer\u201d captured the public\u2019s eye in a big way\u2014and shows that museums may need to prepare for even greater demand for exhibitions like this one in the future.\u00a0\u2014Karen K. Ho<\/em><\/p>\n<\/div>\n<\/article>\n\n\n\n\n\n\n\n\n‘It’s Pablo-matic: Picasso According to Hannah Gadsby’ at Brooklyn Museum, New York<\/h2>\n<\/div>\n<\/div>\n![\"A](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/12\/GettyImages-1258338133.jpg?w=800\")
<\/p>\nInstallation view of “It’s Pablo-Matic: Picasso According to Hannah Gadsby,” 2023, at Brooklyn Museum, New York.<\/div>\nPhoto<\/span>\u00a0:\u00a0<\/span>Photo Ed Jones\/AFP via Getty Images<\/span><\/div>\n<\/figure>\n\nSometimes, a truly awful exhibition still manages to be extremely significant. Like it or not, that is the case with \u201cIt\u2019s Pablo-matic<\/a>,\u201d which exemplified the revisionary mindset being applied to modernist men right now while also showing just how low museums will stoop in order to reach a mass audience. The show was one of many held this year to mark the 50th anniversary of Picasso\u2019s death, and it arguably had the hardest edge. Comedian Hannah Gadsby had already explained her issues with Picasso in their hit 2018 Netflix special\u00a0Nanette<\/em>: they found his abuse of women repugnant, and yet were taught they had to worship at his altar because his art was so formally innovative. This show was meant to elucidate their views even more, now with Picasso artworks on hand from the Mus\u00e9e Picasso, the Museum of Modern Art, and elsewhere.<\/p>\nThe show made a fair case for how Picasso\u2019s art thrived on violence toward women, but it faltered in how it went about its argument. Punny, irreverent texts from Gadsby accompanied these paintings and prints, watering down salient analyses with laughably bad jokes. A range of feminist art, by the likes of Dindga McCannon, Faith Ringgold, and Ana Mendieta, was also here, but little of it had much to do with Picasso, anyway.\u00a0I panned the show<\/a>, as did many others. Crowds amassed to see \u201cIt\u2019s Pablo-matic\u201d anyway. The Brooklyn Museum\u2019s populism worked. But at what cost?\u00a0\u2014Alex Greenberger<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n\n\n\n\n‘Sophie Calle: \u00c0 toi de faire, ma mignonne’ at Mus\u00e9e Picasso, Paris<\/h2>\n<\/div>\n<\/div>\n![\"A](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/10\/13-Sophie-Calle-Voyez-Vous-Vinciane-Lebrun_1420.jpg?w=800\")
<\/p>\nInstallation view of “Sophie Calle: A toi de faire, ma mignonne,” 2023, at au Mus\u00e9e National Picasso Paris.<\/div>\nPhoto<\/span>\u00a0:\u00a0<\/span>Photo Vinciane Lebrun\/Voyez-Vous; Art: \u00a92023 Sophie Calle\/ADAGP, Paris<\/span><\/div>\n<\/figure>\n\nWhen Sophie Calle was invited to show at Paris\u2019s Mus\u00e9e Picasso, she put all of Picasso\u2019s things into the basement, and moved everything she owned into the museum. Why, you might ask? Because\u00a0she couldn\u2019t stand to show her work next to his<\/a>, and because thinking about his lofty legacy made her think about her own death\u2014what she will leave behind, what will become of her things. Impressively, the show also doubles as a retrospective of sorts\u2014one that explores a lifetime of ideas by the famed French conceptualist.\u00a0\u2014Emily Watlington<\/em><\/p>\n<\/div>\n<\/article>\n\n\n\n\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n‘The Land Carries Our Ancestors: Contemporary Art by Native Americans’ at National Gallery of Art, Washington, D.C.<\/h2>\n<\/div>\n<\/div>\n![\"A](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/11\/5549-002.jpg?w=744\")
<\/p>\nSteven Yazzie, Orchestrating a Blooming Desert<\/em>, 2003.<\/div>\nPhoto<\/span>\u00a0:\u00a0<\/span>\u00a92003 Steven J. Yazzie\/Photo Craig Smith\/Courtesy Heard Museum<\/span><\/div>\n<\/figure>\n\nIn\u00a0an interview with\u00a0Art in America<\/em><\/a>, Jaune Quick-to-See Smith explained that she intended her Whitney Museum retrospective to be \u201ca celebration that would go beyond me, like ripples in the stream. I hope that it will open the door so that other Native artists can have exhibitions there and elsewhere.\u201d In that spirit, Quick-to-See Smith curated a survey bringing together the work of nearly 50 Native American artists from across the US, with a wide range of mediums\u2014weaving, sculpture, beading, painting, performance, drawing, and video\u2014highlighting Indigenous understandings of the North American landscape. Kay WalkingStick\u2019s painting\u00a0Ute\u2019s Homelands<\/em>\u00a0(2022) depicts the grandeur of an American Southwest landscape overlaid with Native designs, while Cara Romero\u2019s wide-format photograph\u00a0Indian Canyon<\/em>\u00a0(2019) shows a child wearing a headdress in a rocky Southern California terrain\u2013\u2013both in acknowledgement of the Indigenous peoples who came ahead of Western settlers. Part of a wave of institutional exhibitions surveying contemporary Native American art, \u201cThe Land Carries Our Ancestors\u201d marks a long-overdue renewed focus on contemporary Native American art and artists. \u2014Francesca Aton<\/p>\n<\/div>\n<\/article>\n<\/div>\n\n\n\n\n‘Jaune Quick-to-See Smith: Memory Map’ at Whitney Museum, New York<\/h2>\n<\/div>\n<\/div>\n![\"Installation](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/041123_JauneSmith-4062.jpeg?w=800\")
<\/p>\nInstallation view of \u201cJaune Quick-to-See Smith: Memory Map\u201d at the Whitney Museum of American Art.<\/div>\nPhoto<\/span>\u00a0:\u00a0<\/span>Photo Matthew Carasella<\/span><\/div>\n<\/figure>\n\nJaune Quick-to-See Smith, a Flathead Salish member of the Confederated Salish and Kootenai Tribes in Montana, has pushed the boundaries of Native American art since the 1970s with her expansive art practice, environmental activism, and work as an educator. Her retrospective at the Whitney, billed as the first one devoted to an Indigenous artist that the museum has ever organized, attested to the breadth of her vision. It brought together five decades of Smith\u2019s drawings, prints, paintings, and sculptures\u2014including her iconic painting\u00a0Memory Map<\/em><\/a>\u00a0(2000), which places pictographs related to Native tribes across a map of the US. In her remapping of America, Quick-to-See Smith reminds viewers that these sites and geographical areas existed for Indigenous peoples long before colonizers implemented borders on them.\u00a0\u2014Francesca Aton<\/em><\/p>\n<\/div>\n<\/article>\n\n\n\n\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n‘The Culture: Hip Hop and Contemporary Art in the 21st Century’ at Baltimore Museum of Art and Saint Louis Art Museum<\/h2>\n<\/div>\n<\/div>\n![\"A](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/12\/GettyImages-1250849230.jpg?w=800\")
<\/p>\nInstallation view of “The Culture: Hip Hop and Contemporary Art in the 21st Century,” 2023, at Baltimore Museum of Art.<\/div>\nPhoto<\/span>\u00a0:\u00a0<\/span>Photo Rosem Morton\/The Washington Post via Getty Images<\/span><\/div>\n<\/figure>\n\nIn a year with no shortage of commemoration related to the birth of hip-hop a half-century ago, this crowd-pleaser pulled together an impressive mix of artworks and mementoes that truly got to the interdisciplinary, cross-cultural swirl at the core of a musical movement that is so much more. The modes of display were dynamic and lively without tipping over into spectacle, and the connections proffered between the art on view\u2014by a starry cast including Joyce J. Scott, Lauren Halsey, Stan Douglas, Deana Lawson, Gordon Parks, and Arthur Jafa, among many others\u2014and hip-hop itself were clear without being overly obvious. \u2014Andy Battaglia<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n\n\n\n\n‘Juan de Pareja: Afro-Hispanic Painter’ at Metropolitan Museum of Art, New York<\/h2>\n<\/div>\n<\/div>\n![\"A](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/Pareja_The-Calling-of-Saint-Matthew-1661.jpeg?w=800\")
<\/p>\nJuan de Pareja, The Calling of St. Matthew<\/em>, 1661.<\/div>\nPhoto<\/span>\u00a0:\u00a0<\/span>The Prado Museum, Madrid<\/span><\/div>\n<\/figure>\n\nThis memorable show spotlit\u00a0Juan de Pareja<\/a>, a painter often overshadowed by a Diego Vel\u00e1zquez portrait of him that is owned by the Met. More than just the subject of masterpiece, de Pareja was a painter of formidable talent himself, and the exhibition presented some of the few known works by him alongside portraits by eminent Spanish artists like Zurbar\u00e1n and Murillo. Beyond de Pareja\u2019s artistry, however, the Met also explored him as a person born in a multiracial Spain, with a focus on the Black and Morisco communities he may have known. The exhibition, along with a complementary de Pareja show at the Hispanic Society, made a compelling case for why he deserves a more significant place within art history. \u2014Daniel Cassady<\/em><\/p>\n<\/div>\n<\/article>\n\n\n\n\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n‘Manet\/Degas’ at Mus\u00e9e d’Orsay, Paris, and Metropolitan Museum of Art, New York<\/h2>\n<\/div>\n<\/div>\n![\"Portraits](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/12\/GettyImages-1723594317.jpg?w=800\")
<\/p>\nCrowds at “Manet\/Degas” at the Met.<\/div>\nPhoto<\/span>\u00a0:\u00a0<\/span>Photo Liao Pan\/China News Service via Getty Images<\/span><\/div>\n<\/figure>\n\nThe parallel yet distinct trajectories of\u00a0two 19th-century art icons<\/a>\u00a0form the basis of this fascinating show, which reveals not merely their similarities but also their stark differences. Manet, the revolutionary, employed chunky brushstrokes, relishing in the physicality of paint, always aspiring toward monumental statements. In contrast, Degas, the draftsman, revered paint for its fluidity, prized atmosphere and less grand imagery. Periodically, the two converged\u2014both painted portraits, seascapes, and more\u2014but their divergent approaches to paint and artistic philosophy lent this show a special tension. Its melancholic last room, featuring Degas\u2019s collection of Manet\u2019s art, suggests a fascination that is still palpable more than a century on. \u2014Daniel Cassady<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n\n\n\n\n‘Making Her Mark: A History of Women Artists in Europe, 1400-1800’ at Baltimore Museum of Art<\/h2>\n<\/div>\n<\/div>\n![\"A](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/12\/Jaquotot_Tea_Service_of_Famous_Women_The_Clark_2021.3.1a-b-20.jpg?w=800\")
<\/p>\nMarie-Victorie Jaquotot and S\u00e8vres Porcelain Manufactory, Tea Service of Famous Women (cabaret des femmes c\u00e9l\u00e8bres), 1811\u201312.<\/em><\/div>\nPhoto<\/span>\u00a0:\u00a0<\/span>Clark Art Institute<\/span><\/div>\n<\/figure>\n\nWhen paintings and sculptures were commissioned by courts and churches, and when Europeans invented museums, women and people of color were excluded systematically. When paintings and sculptures were commissioned by courts and churches, and when Europeans invented museums, women and people of color were excluded systematically. Exceptions\u2014and resistance\u2014can be found, to be sure, but to get\u00a0a full picture of art history that includes more than just dead white men, we\u2019ll have to widen our view\u00a0and look beyond painting. Here\u2019s the good news: the Baltimore Museum of Art has found a way to do just that astonishingly well. Their feminist curatorial intervention in \u201cMaking Her Mark: A History of Women Artists in Europe, 1400-1800\u201d involves displaying works once dismissed as \u201ccraft\u201d right alongside iconic paintings by pre-modern European women. There are exquisite, intricate lace works shown near a display of bobbins and strings that make sure you understand just how much labor and skill went into each piece. There\u2019s Mary Linwood\u2019s framed\u00a0Tygress\u00a0<\/em>(ca. 1798), which is easily mistaken for a painting, but no, it\u2019s embroidered. There are dozens of meticulous botanical drawings by naturalists working between art and science. And there\u2019s even a precursor to Judy Chicago\u2019s\u00a0Dinner Party<\/em>\u2014Marie-Victoire Jaquotot\u2019s porcelain\u00a0Tea Service of Famous Women\u00a0<\/em>(1811\u201312). Here, enameled teacups bear gorgeous portraits of Joan of Arc, Catherine the Great, and other women who, like the show itself, demonstrate that women who did great work against the odds were never alone.<\/p>\nBut the show is still brimming with works that fit even the most conservative idea of a \u201cmasterpiece<\/a>.\u201d Among them are paintings by proto-feminist icons like Artemisia Gentelleschi, Judith Leyster, and \u00c9lisabeth Vig\u00e9e Le-Brun. Notably, plenty of these paintings\u2014especially one by Marguerite G\u00e9ard\u2014feature babies that actually have appropriate proportions; here, their male counterparts famously floundered. The show also compares certain women\u2019s pay to that of their male peers and examines careers cut short by death during childbirth or motherhood done solo. This wider view doubles as a trove of treasures.\u00a0\u2013Emily Watlington<\/em><\/p>\n<\/div>\n<\/article>\n\n\n\n\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n‘Indigenous Histories’ at Museu de Arte de S\u00e3o Paulo<\/h2>\n<\/div>\n<\/div>\n![\"A](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/08\/Acelino-Tuin-Huni-Kuin-Movimento-dos-Artistas-Huni-Kuin-Kapenawe-pukenibu-2022.jpg?w=668\")
Acelino Tuin Huni Kuin, Artist Movement of the Huni Kuin Collective, Kapenawe pukenibu<\/em>, 2022<\/p>\nPhoto<\/span>\u00a0:\u00a0<\/span>Photo Daniel Cabrel\/Museu de Arte de S\u00e3o Paulo<\/span><\/div>\n<\/figure>\n\nThe proliferation of contemporary Indigenous art surveys this year is a veritable sign that the artists in them are on the fast track to being written into the canon. But \u201cIndigenous Histories\u201d asserted that their progenitors deserve canonization too, and did so with aplomb. The latest in MASP\u2019s acclaimed, history-rewriting \u201cHistor\u00edas\u201d series, the show views their art as being directly related to centuries of Indigenous activism. The show taps something in the air in Brazil, too\u2014not long after it opened, the country announced that it had picked its first-ever solo Indigenous representative for the Venice Biennale, Glic\u00e9ria Tupinamb\u00e1, who will retitle the presentation the H\u00e3h\u00e3wpu\u00e1 Pavilion.\u00a0\u2014Alex Greenberger<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n\n\n\n\n‘Only the Young: Experimental Art in Korea, 1960s\u20131970s’ at National Museum of Modern and Contemporary Art, Seoul, and Guggenheim Museum, New York<\/h2>\n<\/div>\n<\/div>\n![\"Grid](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/Kulim-Meaning-of-1%EF%BC%8F24sec-1969-e1694186927472.jpg?w=665\")
<\/p>\nKim Kulim, The Meaning of 1\/24 Second,\u00a0<\/em>, 1969.<\/div>\nPhoto<\/span>\u00a0:\u00a0<\/span>Courtesy Solomon R. Guggenheim Museum.<\/span><\/div>\n<\/figure>\n\nLike K-Pop before it, Korean art has, in recent years, received renewed attention by American cultural institutions. Last year, the Los Angeles County Museum of Art held an\u00a0exhibition of Korean art spanning 1897 to 1965<\/a>, part of a ten-year partnership with Hyundai (BTS\u2019s RM even narrated the audio guide). Then, this year, London\u2019s Victoria and Albert Museum held \u201cHallyu! The Korean Wave<\/a>,\u201d exploring Korean culture across music, film, fashion and other arenas; the exhibition travels to the Museum of Fine Arts Boston next year. And, the Philadelphia Museum of Art is\u00a0currently showing<\/a>\u00a0\u201cThe Shape of Time: Korean Art after 1989.\u201d<\/p>\nHowever, it was the Guggenheim Museum in New York which held the most spectacular show of them all with \u201cOnly the Young: Experimental Art in Korea, 1960s\u20131970s.\u201d The show, which spans three galleries and features 80 works, is the first North American museum exhibition dedicated to Korean experimental art, a rich body of work made during a period of intense change and upheaval in South Korea. The artists\u00a0created video, performance art, and installations\u00a0that crossed the boundaries of their mediums; for most viewers, it will be their first introduction to a movement that Kyung An, an associate curator at the Guggenheim, called a period of \u201ctrue transformation<\/a>.\u201d It travels to the Hammer Museum in Los Angeles in February. \u2014Harrison Jacobs<\/em><\/p>\n<\/div>\n<\/article>\n\n\n\n\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n‘Dos Brasis: arte e pensamento negro’ at SESC Pomp\u00e9ia, S\u00e3o Paulo<\/h2>\n<\/div>\n<\/div>\n![\"\"]()
<\/p>\n<\/div>\n<\/figure>\n\nThis show was billed as the largest exhibition of Black art ever staged in Brazil and, needless to say, it had grand ambitions, with four centuries\u2019 worth of art by 240 artists. Many works on hand are by artists familiar to those who frequent the biennial circuit: the modernist abstractions of Rubem Valentim, the everyday scenes shown in paintings by Maria Auxiliadora, the beguiling fabric sculptures of Sonia Gomes, tender meditations on Black femininity by Rosana Paulino. But just as many works are by artists unfamiliar to most international viewers. The show, which is slated to continue traveling through 2024, will only continue growing the audiences for Black Brazilian art, marking a breakthrough moment that will likely have a ripple effect far beyond the country.\u00a0\u2014Alex Greenberger<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n\n\n\n\n‘Multiple Realities: Experimental Art in the Eastern Bloc, 1960s\u20131980s’ at Walker Art Center, Minneapolis<\/h2>\n<\/div>\n<\/div>\n![\"A](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/12\/MR-080.jpg?w=800\")
<\/p>\nInstallation view of “Multiple Realities: Experimental Art in the Eastern Bloc, 1960s\u20131980s,” 2023, at Walker Art Center, Minneapolis.<\/div>\nPhoto<\/span>\u00a0:\u00a0<\/span>Photo Eric Mueller<\/span><\/div>\n<\/figure>\n\nVast, tough group shows are a dying breed in US museums\u2014perhaps because they require so much from viewers, or maybe because institutions fear audiences simply won\u2019t get them. Hats off, then, to the Walker Art Center for \u201cMultiple Realities,\u201d a 250-work show that reorients the conversation around art of the Eastern Bloc. Largely devoid of marquee names familiar to US art lovers, even those well-versed in recent art history, this show takes up feminist rebellions, daredevil stunts highlighting censorship, technological innovations, and more, all in a way that feels accessible. More crucially, the show fights back against Western assumptions about artists from the six countries surveyed: that all they produced was all dour all the time, and that they were cordoned from the rest of the world, with no ability to connect with others in different regions. Correctives like \u201cMultiple Realities\u201d are increasingly necessary as the canon continues to grow. Let it act as a guide for other future exhibitions in its vein.\u00a0\u2014Alex Greenberger<\/em><\/p>\n<\/div>\n<\/article>\n\n\n\n\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n‘Woven Histories: Textiles and Modernist Abstraction’ at Los Angeles County Museum of Art<\/h2>\n<\/div>\n<\/div>\n![\"A](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/12\/RSEX9047-VW102.jpg?w=800\")
<\/p>\n
<\/p>\nSometimes a blockbuster show is a victim of its own success. This was the case with this Vermeer retrospective featuring 28 paintings by the Dutch Old Master, including seven works never seen before in the Netherlands. Massive public interest resulted in tickets selling out within three days of its opening, unverified eBay listings marketed tickets priced as highly as $2,724, and the sale of more than 100,000 copies of the official catalogue. Even extended hours couldn\u2019t satisfy demand for the show, which was widely understood to be a once-in-a-lifetime chance to see works that are rarely loaned. \u201cVermeer\u201d captured the public\u2019s eye in a big way\u2014and shows that museums may need to prepare for even greater demand for exhibitions like this one in the future.\u00a0\u2014Karen K. Ho<\/em><\/p>\n<\/div>\n<\/article>\n Sometimes, a truly awful exhibition still manages to be extremely significant. Like it or not, that is the case with \u201cIt\u2019s Pablo-matic<\/a>,\u201d which exemplified the revisionary mindset being applied to modernist men right now while also showing just how low museums will stoop in order to reach a mass audience. The show was one of many held this year to mark the 50th anniversary of Picasso\u2019s death, and it arguably had the hardest edge. Comedian Hannah Gadsby had already explained her issues with Picasso in their hit 2018 Netflix special\u00a0Nanette<\/em>: they found his abuse of women repugnant, and yet were taught they had to worship at his altar because his art was so formally innovative. This show was meant to elucidate their views even more, now with Picasso artworks on hand from the Mus\u00e9e Picasso, the Museum of Modern Art, and elsewhere.<\/p>\n The show made a fair case for how Picasso\u2019s art thrived on violence toward women, but it faltered in how it went about its argument. Punny, irreverent texts from Gadsby accompanied these paintings and prints, watering down salient analyses with laughably bad jokes. A range of feminist art, by the likes of Dindga McCannon, Faith Ringgold, and Ana Mendieta, was also here, but little of it had much to do with Picasso, anyway.\u00a0I panned the show<\/a>, as did many others. Crowds amassed to see \u201cIt\u2019s Pablo-matic\u201d anyway. The Brooklyn Museum\u2019s populism worked. But at what cost?\u00a0\u2014Alex Greenberger<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n When Sophie Calle was invited to show at Paris\u2019s Mus\u00e9e Picasso, she put all of Picasso\u2019s things into the basement, and moved everything she owned into the museum. Why, you might ask? Because\u00a0she couldn\u2019t stand to show her work next to his<\/a>, and because thinking about his lofty legacy made her think about her own death\u2014what she will leave behind, what will become of her things. Impressively, the show also doubles as a retrospective of sorts\u2014one that explores a lifetime of ideas by the famed French conceptualist.\u00a0\u2014Emily Watlington<\/em><\/p>\n<\/div>\n<\/article>\n In\u00a0an interview with\u00a0Art in America<\/em><\/a>, Jaune Quick-to-See Smith explained that she intended her Whitney Museum retrospective to be \u201ca celebration that would go beyond me, like ripples in the stream. I hope that it will open the door so that other Native artists can have exhibitions there and elsewhere.\u201d In that spirit, Quick-to-See Smith curated a survey bringing together the work of nearly 50 Native American artists from across the US, with a wide range of mediums\u2014weaving, sculpture, beading, painting, performance, drawing, and video\u2014highlighting Indigenous understandings of the North American landscape. Kay WalkingStick\u2019s painting\u00a0Ute\u2019s Homelands<\/em>\u00a0(2022) depicts the grandeur of an American Southwest landscape overlaid with Native designs, while Cara Romero\u2019s wide-format photograph\u00a0Indian Canyon<\/em>\u00a0(2019) shows a child wearing a headdress in a rocky Southern California terrain\u2013\u2013both in acknowledgement of the Indigenous peoples who came ahead of Western settlers. Part of a wave of institutional exhibitions surveying contemporary Native American art, \u201cThe Land Carries Our Ancestors\u201d marks a long-overdue renewed focus on contemporary Native American art and artists. \u2014Francesca Aton<\/p>\n<\/div>\n<\/article>\n<\/div>\n Jaune Quick-to-See Smith, a Flathead Salish member of the Confederated Salish and Kootenai Tribes in Montana, has pushed the boundaries of Native American art since the 1970s with her expansive art practice, environmental activism, and work as an educator. Her retrospective at the Whitney, billed as the first one devoted to an Indigenous artist that the museum has ever organized, attested to the breadth of her vision. It brought together five decades of Smith\u2019s drawings, prints, paintings, and sculptures\u2014including her iconic painting\u00a0Memory Map<\/em><\/a>\u00a0(2000), which places pictographs related to Native tribes across a map of the US. In her remapping of America, Quick-to-See Smith reminds viewers that these sites and geographical areas existed for Indigenous peoples long before colonizers implemented borders on them.\u00a0\u2014Francesca Aton<\/em><\/p>\n<\/div>\n<\/article>\n In a year with no shortage of commemoration related to the birth of hip-hop a half-century ago, this crowd-pleaser pulled together an impressive mix of artworks and mementoes that truly got to the interdisciplinary, cross-cultural swirl at the core of a musical movement that is so much more. The modes of display were dynamic and lively without tipping over into spectacle, and the connections proffered between the art on view\u2014by a starry cast including Joyce J. Scott, Lauren Halsey, Stan Douglas, Deana Lawson, Gordon Parks, and Arthur Jafa, among many others\u2014and hip-hop itself were clear without being overly obvious. \u2014Andy Battaglia<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n This memorable show spotlit\u00a0Juan de Pareja<\/a>, a painter often overshadowed by a Diego Vel\u00e1zquez portrait of him that is owned by the Met. More than just the subject of masterpiece, de Pareja was a painter of formidable talent himself, and the exhibition presented some of the few known works by him alongside portraits by eminent Spanish artists like Zurbar\u00e1n and Murillo. Beyond de Pareja\u2019s artistry, however, the Met also explored him as a person born in a multiracial Spain, with a focus on the Black and Morisco communities he may have known. The exhibition, along with a complementary de Pareja show at the Hispanic Society, made a compelling case for why he deserves a more significant place within art history. \u2014Daniel Cassady<\/em><\/p>\n<\/div>\n<\/article>\n The parallel yet distinct trajectories of\u00a0two 19th-century art icons<\/a>\u00a0form the basis of this fascinating show, which reveals not merely their similarities but also their stark differences. Manet, the revolutionary, employed chunky brushstrokes, relishing in the physicality of paint, always aspiring toward monumental statements. In contrast, Degas, the draftsman, revered paint for its fluidity, prized atmosphere and less grand imagery. Periodically, the two converged\u2014both painted portraits, seascapes, and more\u2014but their divergent approaches to paint and artistic philosophy lent this show a special tension. Its melancholic last room, featuring Degas\u2019s collection of Manet\u2019s art, suggests a fascination that is still palpable more than a century on. \u2014Daniel Cassady<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n When paintings and sculptures were commissioned by courts and churches, and when Europeans invented museums, women and people of color were excluded systematically. When paintings and sculptures were commissioned by courts and churches, and when Europeans invented museums, women and people of color were excluded systematically. Exceptions\u2014and resistance\u2014can be found, to be sure, but to get\u00a0a full picture of art history that includes more than just dead white men, we\u2019ll have to widen our view\u00a0and look beyond painting. Here\u2019s the good news: the Baltimore Museum of Art has found a way to do just that astonishingly well. Their feminist curatorial intervention in \u201cMaking Her Mark: A History of Women Artists in Europe, 1400-1800\u201d involves displaying works once dismissed as \u201ccraft\u201d right alongside iconic paintings by pre-modern European women. There are exquisite, intricate lace works shown near a display of bobbins and strings that make sure you understand just how much labor and skill went into each piece. There\u2019s Mary Linwood\u2019s framed\u00a0Tygress\u00a0<\/em>(ca. 1798), which is easily mistaken for a painting, but no, it\u2019s embroidered. There are dozens of meticulous botanical drawings by naturalists working between art and science. And there\u2019s even a precursor to Judy Chicago\u2019s\u00a0Dinner Party<\/em>\u2014Marie-Victoire Jaquotot\u2019s porcelain\u00a0Tea Service of Famous Women\u00a0<\/em>(1811\u201312). Here, enameled teacups bear gorgeous portraits of Joan of Arc, Catherine the Great, and other women who, like the show itself, demonstrate that women who did great work against the odds were never alone.<\/p>\n But the show is still brimming with works that fit even the most conservative idea of a \u201cmasterpiece<\/a>.\u201d Among them are paintings by proto-feminist icons like Artemisia Gentelleschi, Judith Leyster, and \u00c9lisabeth Vig\u00e9e Le-Brun. Notably, plenty of these paintings\u2014especially one by Marguerite G\u00e9ard\u2014feature babies that actually have appropriate proportions; here, their male counterparts famously floundered. The show also compares certain women\u2019s pay to that of their male peers and examines careers cut short by death during childbirth or motherhood done solo. This wider view doubles as a trove of treasures.\u00a0\u2013Emily Watlington<\/em><\/p>\n<\/div>\n<\/article>\n The proliferation of contemporary Indigenous art surveys this year is a veritable sign that the artists in them are on the fast track to being written into the canon. But \u201cIndigenous Histories\u201d asserted that their progenitors deserve canonization too, and did so with aplomb. The latest in MASP\u2019s acclaimed, history-rewriting \u201cHistor\u00edas\u201d series, the show views their art as being directly related to centuries of Indigenous activism. The show taps something in the air in Brazil, too\u2014not long after it opened, the country announced that it had picked its first-ever solo Indigenous representative for the Venice Biennale, Glic\u00e9ria Tupinamb\u00e1, who will retitle the presentation the H\u00e3h\u00e3wpu\u00e1 Pavilion.\u00a0\u2014Alex Greenberger<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n Like K-Pop before it, Korean art has, in recent years, received renewed attention by American cultural institutions. Last year, the Los Angeles County Museum of Art held an\u00a0exhibition of Korean art spanning 1897 to 1965<\/a>, part of a ten-year partnership with Hyundai (BTS\u2019s RM even narrated the audio guide). Then, this year, London\u2019s Victoria and Albert Museum held \u201cHallyu! The Korean Wave<\/a>,\u201d exploring Korean culture across music, film, fashion and other arenas; the exhibition travels to the Museum of Fine Arts Boston next year. And, the Philadelphia Museum of Art is\u00a0currently showing<\/a>\u00a0\u201cThe Shape of Time: Korean Art after 1989.\u201d<\/p>\n However, it was the Guggenheim Museum in New York which held the most spectacular show of them all with \u201cOnly the Young: Experimental Art in Korea, 1960s\u20131970s.\u201d The show, which spans three galleries and features 80 works, is the first North American museum exhibition dedicated to Korean experimental art, a rich body of work made during a period of intense change and upheaval in South Korea. The artists\u00a0created video, performance art, and installations\u00a0that crossed the boundaries of their mediums; for most viewers, it will be their first introduction to a movement that Kyung An, an associate curator at the Guggenheim, called a period of \u201ctrue transformation<\/a>.\u201d It travels to the Hammer Museum in Los Angeles in February. \u2014Harrison Jacobs<\/em><\/p>\n<\/div>\n<\/article>\n This show was billed as the largest exhibition of Black art ever staged in Brazil and, needless to say, it had grand ambitions, with four centuries\u2019 worth of art by 240 artists. Many works on hand are by artists familiar to those who frequent the biennial circuit: the modernist abstractions of Rubem Valentim, the everyday scenes shown in paintings by Maria Auxiliadora, the beguiling fabric sculptures of Sonia Gomes, tender meditations on Black femininity by Rosana Paulino. But just as many works are by artists unfamiliar to most international viewers. The show, which is slated to continue traveling through 2024, will only continue growing the audiences for Black Brazilian art, marking a breakthrough moment that will likely have a ripple effect far beyond the country.\u00a0\u2014Alex Greenberger<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n Vast, tough group shows are a dying breed in US museums\u2014perhaps because they require so much from viewers, or maybe because institutions fear audiences simply won\u2019t get them. Hats off, then, to the Walker Art Center for \u201cMultiple Realities,\u201d a 250-work show that reorients the conversation around art of the Eastern Bloc. Largely devoid of marquee names familiar to US art lovers, even those well-versed in recent art history, this show takes up feminist rebellions, daredevil stunts highlighting censorship, technological innovations, and more, all in a way that feels accessible. More crucially, the show fights back against Western assumptions about artists from the six countries surveyed: that all they produced was all dour all the time, and that they were cordoned from the rest of the world, with no ability to connect with others in different regions. Correctives like \u201cMultiple Realities\u201d are increasingly necessary as the canon continues to grow. Let it act as a guide for other future exhibitions in its vein.\u00a0\u2014Alex Greenberger<\/em><\/p>\n<\/div>\n<\/article>\n‘It’s Pablo-matic: Picasso According to Hannah Gadsby’ at Brooklyn Museum, New York<\/h2>\n<\/div>\n<\/div>\n
<\/p>\n‘Sophie Calle: \u00c0 toi de faire, ma mignonne’ at Mus\u00e9e Picasso, Paris<\/h2>\n<\/div>\n<\/div>\n
<\/p>\n‘The Land Carries Our Ancestors: Contemporary Art by Native Americans’ at National Gallery of Art, Washington, D.C.<\/h2>\n<\/div>\n<\/div>\n
<\/p>\n‘Jaune Quick-to-See Smith: Memory Map’ at Whitney Museum, New York<\/h2>\n<\/div>\n<\/div>\n
<\/p>\n‘The Culture: Hip Hop and Contemporary Art in the 21st Century’ at Baltimore Museum of Art and Saint Louis Art Museum<\/h2>\n<\/div>\n<\/div>\n
<\/p>\n‘Juan de Pareja: Afro-Hispanic Painter’ at Metropolitan Museum of Art, New York<\/h2>\n<\/div>\n<\/div>\n
<\/p>\n‘Manet\/Degas’ at Mus\u00e9e d’Orsay, Paris, and Metropolitan Museum of Art, New York<\/h2>\n<\/div>\n<\/div>\n
<\/p>\n‘Making Her Mark: A History of Women Artists in Europe, 1400-1800’ at Baltimore Museum of Art<\/h2>\n<\/div>\n<\/div>\n
<\/p>\n‘Indigenous Histories’ at Museu de Arte de S\u00e3o Paulo<\/h2>\n<\/div>\n<\/div>\n
Acelino Tuin Huni Kuin, Artist Movement of the Huni Kuin Collective, Kapenawe pukenibu<\/em>, 2022<\/p>\n‘Only the Young: Experimental Art in Korea, 1960s\u20131970s’ at National Museum of Modern and Contemporary Art, Seoul, and Guggenheim Museum, New York<\/h2>\n<\/div>\n<\/div>\n
<\/p>\n‘Dos Brasis: arte e pensamento negro’ at SESC Pomp\u00e9ia, S\u00e3o Paulo<\/h2>\n<\/div>\n<\/div>\n
<\/p>\n
‘Multiple Realities: Experimental Art in the Eastern Bloc, 1960s\u20131980s’ at Walker Art Center, Minneapolis<\/h2>\n<\/div>\n<\/div>\n
<\/p>\n‘Woven Histories: Textiles and Modernist Abstraction’ at Los Angeles County Museum of Art<\/h2>\n<\/div>\n<\/div>\n
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