March 15, 2012
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As seen through the eyes of the Whitney, the last two years of American art-making were defined by an enormous amount of mediocre abstract painting, a complete lack of nuanced emotion, and sculpture that mostly looks like nothing. You and I both know that isn't true.
Given the disorganized arrangement of works on display at the Whitney Biennial, though, one can't help seeing much of its work in an unflattering light. I know I keep beating this drum, but curators in this city—starting with Biennial organizers Jay Saunders and Elizabeth Sussman—need to pay a lot more attention to exhibition design, on- and offline.