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Furiosa
On Furiosa and Hylas and the Nymphs
Olga de Amaral
Presentations of textile art in Washington, DC;  New York; and Chicago
Pieter Schoolwerth's CGI installation Supporting Actor
Excerpt of CG video Supporting Actor at Petzel gallery
Annihilation.
Michel Houellebecq vents again
Mari Chordà.
Critics’ Picks
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Current Issue
Christoph Büchel at Fondazione Prada, Venice
Presentations of textile art in Washington, DC;  New York; and Chicago
Wael Shawky, Drama 1882, 2024, 4K video, color, sound, 45 minutes.
Videos
Sarah K. Rich interprets Frank Stella's artwork.
Following artist Frank Stella’s passing this past May, Sarah K. Rich offers a reading of Stella’s 1966 painting Union III
CATPC Cercle d’Art des Travailleurs de Plantation Congolaise, or Congolese Workers Plantation Art League)
The Congolese art collective shares an excerpt of Ku Sambisama Ya Nso Ya Mpembe (The Judgment of the White Cube)
Jordan Nassar in his Brooklyn studio.
On Palestinian embroidery and diasporic identity
Columns
15th Gwangju Biennale.
Frieze Seoul and the Gwangju Biennale
Titus Kaphar, Exhibiting Forgiveness.
On his feature film debut and exhibition, “Exhibiting Forgiveness”
From the archive
SEPTEMBER HOMEPAGE
October 2004
In 1992, Jeffrey Deitch organized “Post Human,” a survey of thirty-six artists whose work charted the brave new horizons of the body and identity at the dawn of the Clinton era. The show—which touched on themes such as genetic engineering, virtual reality, and cosmetic surgery—was also an influential early presentation of artists who have since become household names, including Matthew Barney, Cindy Sherman, and Robert Gober. In 2004, writing for Artforum’s “Pop After Pop” special issue, the venerable art historian Robert Rosenblum reflected on the exhibition’s palpable legacy: “We now know that the show nurtured brilliant progeny, along with resuscitated precursors—whether the new brood knew it or not.”

That progeny has now begotten its own. This fall, Deitch resurrects “Post Human” at his namesake gallery in LA, displaying select artists from the 1992 show alongside the work of a younger generation (Josh Kline, Hugh Hayden, Anna Uddenberg) who update the exhibition’s premise for our own vertiginous era of biometric surveillance, boutique life-extension technology, and AI. —The editors