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“In the Shadows of Tall Necessities” at Bonner Kunstverein




Questions of care – as responsibility and law – run through this group exhibition in the Bonner Kunstverein, which is jointly curated by museum director Fatima Hellberg and the artist Annika Eriksson. The politics and practices of care have been central to Hellberg’s curatorial approach and what she calls “keeping something alive” that otherwise should not be. This is a vision that frames Hellberg and Eriksson’s ongoing collaboration, shaped in part by their relationship as daughter and mother respectively. Perseverance and survival enliven the seventeen-artist exhibition, which unfolds in veiled and increasingly interwoven narratives in two imposing gallery spaces.

While the pieces vary in different mediums (film, sculpture, sound, photography), they all explore caring as an unstable interrelationship between love and salvation. Hellberg and Erikkson’s framework for this cycle—initiated by an image-based correspondence—is the shelter: a space of safety and survival that exists because of a lack of those things. Rei Hayamas Reflected on the collinear and in the water2018, is an evocative 8mm film that tracks compassion and pain in a captive emu’s tear during Dani ReStacks Platonic2013, captures instances of communal intimacy from the crooked angle of a handheld camera.

Eriksson’s own mission, 2022, the exhibition’s most expansive and direct piece, is a fenced-in maze of small enclosures containing a range of paraphernalia and collaged images of domestic animals, as well as video and mixed-media works by other artists in the exhibition. Floating somewhere between shrine and clinic, mission emphasizes the unnerving beats of the entire exhibition: care is cacophonous, care is clear and indecipherable, care is painful but necessary.


Johanna Fateman’s highlights of 2022




Johanna Destinyman is a writer, art critic and musician based in New York. She is co-editor of art forum and regularly writes art reviews for the New Yorker and 4 columns. After a seventeen-year hiatus, her band Le Tigre is going on tour in 2023.

Yvonne Rainer, Hellzapoppin': What about the bees?, 2022. Performance view, New York Live Arts, October 5, 2022. Brittany Engel-Adams.  Photo: Maria Baranova.


Central to this self-injurious exploration of anti-Black racism was the choreographic resolution of a dance performed by Whitey’s Lindy Hoppers in a 1941 film. Rainer announced Hellzapoppin’ as her last work, but the radical anti-virtuoso rejected the fanfare of a grand finale, leaving us instead another searching procedural performance – text, film and movement together – symbolic of the mind-body rigor of her long, grand career.


One could say that this extraordinary historical exhibition, a tribute and reactivation of the eponymous New York black art space of the 1970s and 80s, is overdue. But it’s not too late to include accompanying performances by some of the brilliant personalities that have been nurtured by JAM and its founder, Linda Goode Bryant. Can’t wait for Senga Nengudi Fittz and Kaylynn Sullivan’s new play TwoTrees, which is slated for the final weeks of the show.

On view until February 18, 2023.

Opening of


As a dancer, painter and public performer, the trans-Chilean artist who lost both arms in a childhood accident has placed her joyously embodied self-concept at the center of her amazing work. “Requiem for the Norm,” curated by Paul B. Preciado, showcased the scope of her liberating practice with context and detail. A gift.

Lorenza Böttner, Untitled, 1982, Gelatin silver print, 14 × 11".


I don’t like museum food as a trend – high risk, diminishing returns – but the fiery haze of tomato soup on the glass of the modern master’s vision in margarine and chartreuse has captured my heart. The brave young protesters showed the world what is valued and protected by those in power and what, of course, is not. The photo-friendly diversion was always intended to be temporary. The slogan “No Art on a Dead Planet” is a dire warning, not a threat from a vandal.

Just Stop Oil activists Phoebe Plummer and Anna Holland after throwing soup at Vincent van Gogh's 1888 Sunflowers, National Gallery, London, October 14, 2022. Photo: Just Stop Oil.


But maybe machines will continue to make art after we die out. The blue ribbon winning canvas Theater d’Opera Spatialonly later revealed to be AI-generated (on Allen’s advice), seems to depict the kingdom of Westeros mixed with the planet Giedi Prime, I don’t know, Degas/Rembrandt style – an intriguing artifact of the late Anthropocene.

Jason Allen, Théâtre d'Opéra Spatial, 2022, inkjet print on canvas, 16 × 24".


But seriously, Davis’ collection of superlucid writings was my go-to place in 2022 to reflect on the impact of AI, climate catastrophe, and QAnon, among other things.


In the artist’s expansive multimedia installation The Mathematics of ConsciousnessProjected onto twenty-six blacked-out windows, decades of innovative work in synaptic bursts and theta waves offered a sort of time-lapse overview of an awe-inspiring visual universe that included Atlas’ dance-film collaborations with Merce Cunningham, moody passages of animated abstraction and the performance-for -Camera craze from TikTok.

View of “Charles Atlas: The Mathematics of Consciousness” 2022, Pioneer Works, Brooklyn, NY.  Photo: Dan Bradica.


For the moving exhibition “Where there’s love overflowing”, visitors downloaded an app that turns smartphones into filters – or portals. Point your device at drawings decorated with song lyrics The Wizard (the 1975 musical written, directed and performed by black creators) triggered an animated layer of butterflies, birds and text; If you staged it further up, you were sent to a Vimeo reel with standout renditions of the show’s ballad “Home,” a dream of belonging.

Visitor interacting with E. Jane's 2022 Living here in this brand new world may be a fantasy, but it taught me to love, The Kitchen, New York, 2022. Photo: Jason Mandella.


Arriving in the wake of Nathan Fielder’s tragi-comic hit series The samplePettengill’s stunning documentary, exploring the cultural power and psychological underpinnings of “preparation fantasies,” includes archival footage of fictional neighborhoods built by the US military to be used as sets for counterinsurgency exercises. With narration by Tobi Haslett, the film offers an in-depth perspective on the 1960s riots in Detroit, Newark and Watts and the repressive law-and-order response.

Sierra Pettengill, Riotsville, USA, 2022, 2K video, color, sound, 91 minutes.


More sunflowers in need. Flowers for Ken, as this exhibition was titled (for the artist’s partner, who was diagnosed with HIV in 1988 and died in 1991), showed us a bloom in progressive decline. This tiny exhibition of large paintings—there were only two, not counting the lush impasto still lifes in the office—was simply stunning, their contrasting scales suggesting a engulfing sorrow.

View of “Jimmy Wright: Flowers for Ken,” 2022 Fierman West, New York.

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Your Concise New York Art Guide for December 2022




The holiday season is a time of relaxation and reflection. Whatever your tradition, at Hyperallergic we hope you find some time to recharge and appreciate what matters most. If you’re looking for something to see, New York still thrives with activity at borough museums and galleries. Our December highlights include art created during the first stock market crash, a tribute to cat lovers and the 10th anniversary of a major public arts initiative. See you in 2023!

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Shandaken Projects: 10th Anniversary Benefit Exhibition

Installation view from Shandaken Projects: 10th Anniversary Benefit Exhibition (courtesy of Shandaken Projects)

Shandaken Projects was originally founded as a defense of artists against art market problems and rapid gentrification. Since 2012, they have worked to build sustainable studio spaces and implement free public programs including poster initiatives, printmaking workshops and residencies at the Storm King Art Center. Their 10th anniversary show is therefore cause for celebration as all proceeds will go towards next year’s programme. More than 140 mixed media works are exhibited by alumni of all ages and show the path of a young institution with a bright future.

Shandaken Projects (
Building 9, Governors Island
Until December 14th

Marjolijn De Wit: Sorry for the damage

Marjolijn De Wit, “Fizz” (2022) (Photo by Etienne Frossard, Courtesy the artist and Asya Geisberg Gallery)

With all the attention to fossil fuel investments in the art world, Marjolijn De Wit’s latest series should both charm and frustrate. sorry for the damage turns elitist apologies on their head and brings together symbols of wealth and beautiful scenes of nature. Butterflies, diamonds and plated dishes flutter and soar in wooded settings – all achieved through the juxtaposition of advertisements and editorial photography National graphic magazines. Here De Wit shows the true value of what we produce and how many suffer for it.

Gallery Asya Geisberg (
537 West 23rd Street, Chelsea, Manhattan
Until December 17th

Tom Uttech: Headwind on Windigoostigwan

Tom Uttech, “Nin Pipigwe” (2022) (Courtesy Alexandre Gallery)

Rather than claiming the wilderness for himself, 80-year-old painter Tom Uttech presents it as it is. Uttech captures what he calls the “quiet ecstasy” of the Ojibwe countries now known as Wisconsin, Minnesota and Canada. But while the owner has been forcibly changed, many of its protectors remain – the swirling night sky, lonely bears and flowing rivers. Presented in handcrafted wood grain frames, Uttech brings out the subtle tones of the region he knows best and encourages us to reflect on the meaning of home.

Gallery Alexandre (
291 Grand Street, Lower East Side, Manhattan
Until December 22nd

Sophia-Yemisi Adeyemo: Earth & Iron: Archival Visions of Land and Struggle

Sophia-Yemisi Adeyemo, “Bloodroot and Machetes; As We Learn to Be Sharpened (No es un Lecho de Rosas)” (2022) (courtesy of the artist and BRIC)

Sophia-Yemisi Adeyemo presents the colonized memory as a broken space, using a cut-up method to accentuate the gaps. Based on 20th-century photographs from West Africa and the Caribbean, Adeyemo’s sparse paintings and sculptures transform scenes of submission into fragments of guerrilla escape. Machetes and assault rifles are camouflaged by flora and fauna, punctuated by portraits of black and indigenous families staring straight at the viewer. In front of the sterile white walls, Adeyemo presents a salon of rebellion that directly meets the colonial gaze.

647 Fulton Street, Fort Greene, Brooklyn
Until December 23rd

Even a cat can look at the queen

Philip Hinge, Keep Me Safe (2022) (Photo by Olympia Shannon, courtesy of Mrs.)

Cats were never really known to obey orders. Rather, their lack of discipline is part of their mysticism. Accordingly, a new group show at Mrs. draws on a long tradition of trying and failing to impose our will on feline disobedience. Sculptures of black cats are reminiscent of ancient Egyptian depictions of the Deity Bastetwhile paintings made of rubbish and furniture on the many (many) domestic sacrifices we make for them. The 39 artists presented themselves together Even a cat can look at the queen show that total control is an illusion – a valuable lesson for all of us.

Woman. (
60-40 56th Drive, Maspeth, Queens
Until January 7, 2023

Just enough: New perspectives from 12 photographers from Magnum

Sabiha Çimen, “Students playing with a color smoke bomb during a picnic event” (2017) from the series Hafiz (courtesy of the artist, Magnum Photos and the International Center of Photography)

The ICP’s latest group exhibition examines the contributions of women to Magnum Photos around the world and features 12 contemporaries from three generations. Sabiha Çimen’s playful portraits of Muslim matriarchs stand alongside Alessandra Sanguinetti’s documentation of the aging process in rural Argentina. Meanwhile, Susan Meiselas’ images of abused British women reveal the innate violence within patriarchal society. As Magnum undergoes a significant re-evaluation of its archives, Near enough is a step forward in changing historical omissions.

International Center for Photography (
79 Essex Street, Lower East Side, Manhattan
Until January 9, 2023

Grace Nkem: What we do

Grace Nkem, “Ghosts & Cloister” (2022) (courtesy of the artist and gallery particulier)

Grace Nkem’s powerful compositions present a culture in transition. Ancient artifacts and human remains are depicted in European monasteries, suggesting a repatriation. Meanwhile, a white man showing a black woman’s portrait as a “trophy” signals the legacy of colonialism at a time of increased repatriation. Yet the ghosts and skeletons that appear everywhere stand as dutiful observers from beyond the grave. Presented in a townhouse in Flatbush, Pictures will speak admirably redirects surrealism to its roots in the Global South.

Gallery Particulier (
281 Maple Street, Lefferts Gardens Prospect, Brooklyn
December 7, 2022-23. January 2023

Something about Midtown: Changing rooms

Flyer for Just Above Midtown Gallery, (ca. 1985) (courtesy of the Linda Goode Bryant Collection, New York and the Museum of Modern Art)

During the 1970s and 1980s, Just Above Midtown (JAM) was where experimental art could be found in the neighborhood where MoMA is now located. As such, this new retrospective deconstructs the history of the Manhattan Gallery. Founded by filmmaker Linda Goode Bryant, JAM became the foundation for people of color working across generations and disciplines – often showcasing emerging artists alongside established artists. Compilation of posters and photographs featuring works by Howardena Pindell, David Hammons and Lorraine O’Grady, Right above Midtown honors the thriving social scene that produced many of today’s popular artists.

The Museum of Modern Art (
11 West 53rd Street, Midtown, Manhattan
Until February 18, 2023

Maryna Bilak: CARE

Maryna Bilak, “Stormy (Lady in a White Hat)” (2018) (Courtesy of the artist and Derfner Judaica Museum)

Maryna Bilak’s art expresses the all-encompassing nature of Alzheimer’s disease, from its impact on the patient to the pain it causes in loved ones. Bilak’s latest exhibition CARE is dedicated to her late mother-in-law, Dorothy, and her experiences as young parents. Frescoes of facial features suggest how the disease wears down our memories, while plaster sculptures assembled with Dorothy’s own fabrics and furniture recreate the domestic spaces in which she once lived. Bilak’s exhibition, on view at a Jewish senior citizens’ community, takes us on a journey from grief to healing and how art helps us cross that threshold.

Derfner Judaica Museum (
5901 Palisade Avenue, North Riverdale, Bronx
Until February 19, 2023

Fortune and Folly in 1720

Anonymous, “Magic Card or Remedy for the Wind-Breaking of the Southwest and the Departure of the Cartouche” (1720) (courtesy New York Public Library)

The dangers of market volatility have long inspired artists parody the capitalist class in many ways. For this reason the New York Public Library takes us back to December 1720 as the first Investment bubble burst. Colorful paintings, drawings, graphic designs, and printed ephemera signal the sheer panic on display—and the Glee artists took it upon themselves to mock it all. Indolent shareholders are carelessly adrift in a boat run by the devil. A personification of greed seeking to “overtake or outrun” that of happiness, embodies one of the main temptations of the market. All of this shows how ordinary workers are drawn into the chaos. For our age of NFTs and other crypto scams, happiness and folly shows how history can rhyme both and to repeat.

New York Public Library (
476 Fifth Avenue, Midtown, Manhattan
Until February 19, 2023

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Nobuyoshi Araki and Daido Moriyama at Ratio 3




“Polaroid?” mused Roland Barthes in two brackets in his 1981 book Camera Lucida, “Fun but disappointing unless a great photographer is involved.” By the time the French theorist was writing this paper, the Polaroid was quite fashionable, a situation that caused some tension among photography’s leading theorists and artistic authorities. But despite its decline in popularity over the decades (and even after the company twice declared bankruptcy in the early 2000s), the Polaroid has had a surprising revival of late, both as digital simulacra (via smartphone photo filters) and millennial nostalgia ware , which hints at a story yet to unfold.

The 400 Polaroids exhibition brilliantly evokes this unusual trajectory by bringing together two artists, Nobuyoshi Araki and Daido Moriyama, into conversation. Longtime friends and occasional collaborators, the two have worked in parallel on the expressions of post-war Japanese photography for more than fifty years. But while Araki has long promoted the Polaroid as an experimental medium through series like “Polanography” (a portmanteau of Polaroid and pornography; the work features spliced ​​images of nude models performing), 2016, Moriyama mostly only ever used it as a diary tool.

In the existentially titled series “bye-bye polaroid” from 2008, Moriyama takes his device to the streets of Tokyo and snaps old shop windows, passers-by and architecture with the tender poetry of the flâneur. If Moriyama seeks the soon-to-be-obsolete medium’s immediacy to capture a city in decline, Araki uses it to document the vibrancy of his hometown, capturing images of hot girls, friends, flowers, and food. This formal dialectic of the sentimentality of photography is attractively staged in the exhibition through changing shelves with works by the artists, who present their pictures in free-standing Plexiglas frames. As a highly physical souvenir (or, in the etymological sense of the word, a reminder), the Polaroid is no longer valued simply for its quick seriality or instant gratification, but for its unique materiality as a pure print medium, and its ordinariness contains something extraordinarily moving.

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