A historical exhibition aims to show us past life, but sometimes the retrospective becomes reflective, a two-way mirror seeing through to the present. So it is with New York 19621964 at The Jewish Museum, certainly at the moment our fair citys most enveloping visual and aural museum experience.
When the current Venice Biennale compilation, All the World’s Futures, incited critics’ antipathy as “morality-based,” “provocative but also confining,” and “morose, joyless, and ugly,” I knew I had to see it.
Oil is the elixir of the economy and venom to the environment. Beyond its materialization as myriad synthetics from furniture to foodstuffs, this contentious fluid has become the elan vital of developmentat once pervasive, productive, and perverse.