Pictured, foreground: Meg Webster, Moss Bed, 1986-88.
Pictured: "Refigured Painting: The German Image 1960-88," 1989.
Pictured: Hans Haacke, One Day the Lions of Dulcie September Will Spout Water in Jubilation, 1989.
Fanatically dedicated to '40s 8-movie actress Maria Montez, he recuperated her ineptitude as a virtue: "The acting was lousy but if something genuine got on film why carp about acting--which HAS to be phony anyway--I'd RATHER HAVE atrocious acting." Pictured: Jack Smith, Untitled (tableau vivant), 1958-62, print from a 21/4 x 21/4 color negative.
Pictured: Matthew Barney, Field Dressing (orlfill), 1989, video still.
Call it "Richard Prince's World." Pictured: Nam June Paik, Fin de Siecie II, 1989.
Pictured: Peter NAgy, EST Graduate, 1984, acrylic and photocopy on canvas, 48 x 40".
Pictured: George Condo, The Clown Maker, 1984, oil on linen, 73 x 48".
The exhibition provides a new appropriationist/neo-geo context for the artist's work: "I liked the gallery's intellectual, gay attitude." Pictured: Ross Bleckner, The Oceans, 1984, oil on linen, 8 x 10'.
Pictured: Sarah Charlesworth, Red Scarf, 1983-84, color photograph, 42 x 32".
Gary Indiana in the Village Voice: "Art making has become a salvational sport, the basketball of disaffected, middle-class white kids." Pictured: Jeff Koons, "Equilibrium," 1985.