In 2024, I decided to avoid relying on wall labels for art criticism after observing the reactions to the Whitney Biennial of that year. The New Yorker’s Jackson Arn questioned the impact of removing all labels from the exhibition, suggesting the show might improve without them. Meanwhile, Travis Diehl from the New York Times criticized the explanatory nature of the labels, and Sebastian Smee from the Washington Post found them to be more alienating than informative. These critiques echoed Jerry Saltz’s assertion that the exhibition wasn’t intended for critics like him.
My resolve was tested at the 36th Bienal de São Paulo, curated by Bonaventure Soh Bejeng Ndikung. The exhibition, featuring 125 artists and over 1,200 artworks, was notable for its ineffective didactics. Labels with artists’ names and QR codes were inconveniently placed, often far from the artworks they described, leading to a frustrating scavenger hunt for visitors. Detailed section texts, running up to 500 words per artist, overwhelmed rather than informed, contrasting with typical museum practices that favor concise labeling.
The curators justified their approach as a means to encourage direct engagement with the art and minimize curatorial authority. However, critics like Fabio Cypriano argued that withholding context was contradictory and could be seen as a colonialist act. This sparked debate in Brazil, with philosopher Bruna de Jesus defending the curators’ decision as a way to embrace multiple forms of understanding and estrangement. Yet, some, like Fabrício Reiner, found the execution lacking, creating more confusion than connection.
In the broader context, Sara Bodinson from MoMA highlighted the importance of understanding visitor needs in crafting exhibition labels. She explained that effective labels engage audiences by focusing on essential information such as the artist’s inspiration, materials, and context. This approach aims to create space for personal engagement rather than dictating interpretations. As museums experiment with innovative ways to present art, they continue to grapple with balancing accessibility and depth of information.
Ultimately, the challenge remains in addressing diverse audiences while offering both introductory and in-depth insights. Ingrid Schaffner’s guideline that labels should cater to varying levels of knowledge underscores the complexity of the task. As museums strive to communicate effectively with their visitors, the role of wall texts remains a crucial element in the art-viewing experience.
