What happens when you gather MoMA’s deaccessioned paintings into a single, convenient catalog, or move the wall of a house by roughly a foot, all in the name of conceptual art? Michael Asher may have the answers. His work is highly cerebral, sometimes nearly inscrutable, yet it remains politically charged, socially conscious, and strikingly relevant, more than a decade after his death.
Read Renée Reizman’s review of a survey devoted to the father of Institutional Critique, a form we cherish here at Hyperallergic.
Also today, you’ll definitely want to meet Annie Sprinkle and Beth Stephens, the godmothers of ecosexuality. What does that mean? “Becoming a lover of Earth, eroticizing it, maybe even marrying it?” Tulsa Kinney writes. Their latest film will be screening at various venues through the end of the year.
Plus, the Aldrich Contemporary Art Museum’s decennial exhibition of Connecticut artists shows the state is no backwater, a mural was damaged during a break-in at the Harriet Tubman Museum, a former executive at the High Museum pleads guilty to embezzlement, and there’s all the art reading you need to start the day right.
—Lisa Yin Zhang, associate editor
