Sentences with phrase «objects on display for»

In Ross - Ho's hands, the plaza is transformed into an enormous photo studio, with objects on display for the purpose of being photographed by the public, while the sun provides a shifting source of light, affecting both our perception of how the objects look in real life and how they appear in our photographs.

Alongside the precious medal groups in the gallery there are many objects on display for the first time.

Not exact matches

For instance, he'll look at the objects on display in people's «perception room,» i.e., the room in which they entertain visitors.

C. All information, content, services and software displayed on, transmitted through or used in connection with the Company web site, with the exception of User content as defined herein, including for example, news articles, reviews, directories, guides, text, photographs, images, illustrations, audio clips, video, html, source and object code, trademarks, logos, and the like, as well as its selection and arrangement, is owned by Company, except for those items that are copyrighted and / or owned by their respective businesses or individuals.

«For us, the hardware isn't much of a concern because it is widely available and getting cheaper,» explains Hatch, referring to gadgets such as the Apple iPhone, which is able to translate two fingertips pinching together and moving apart into smaller and bigger objects, respectively, on its small display.

The sketches of a pair of shoes or piece of furniture, for example, are drawn directly by hand on a touchscreen and recognized using a sophisticated image retrieval system, where the top 10 retrieval accuracy is close to 100 per cent on some object categories so that it always displays the desired product on the first page.

Additionally, if we ask our visitors to look at an illuminated screen for, say, 15 or 20 minutes while we discuss various objects on the screen, even turning the display to low intensity levels would be enough to severely impact their dark - adaptation and would potentially ruin their views of objects through other telescopes.

-- The high definition display allows for more detailed character models — The «haze» that appears on far - away objects to help improve running speeds and loading times has been removed allowing for a more detailed draw distance — It appears that this version allows for more pedestrians in the playfield at any time

A thoroughly self - aware object, full of unexpected marvels one might not consider for eternal display, it was on my mind throughout Todd Haynes's Wonderstruck, which, like all of Haynes's films, is a thoroughly self - aware object, full of unexpected marvels, and which takes both museums and film itself as its subjects.

Even the posters for the film (which I know Garland would not necessarily be involved in designing) display Ava as an object, either with just her torso (no brain to think with or arms and legs to for independent movement), or the standard photo - from - behind with torso twisted towards the front, so that both buttocks and breasts are on display.

Standard StabiliTrak stability control system with rollover mitigation technology Standard dual - stage driver's front air bag Standard dual - stage outboard - front passenger air bag with Passenger Sensing System Available roof - mounted head curtain side air bags for both seating rows Standard front seat safety belt pretensioners with rear impact deployment capability Standard tire pressure monitoring system Available rain - sensing wiper system Available Ultrasonic Rear Parking Assist that can detect certain stationary objects in the rearward path of the vehicle and send an audible warning sound and display via three LEDs on the right D - pillar Available rearview camera system designed to provide the driver with a view of people or objects in the rearward path of the vehicle Standard pull - up / push - down power window switches

For centuries now most museums have kept this approach to displaying an exhibit, printing and reprinting gallery cards to let museum visitors into the secret of the ever - changing objects on display.

Connectivity Ultra-fast 4G connectivity via Verizon's network Wireless - N Wi - Fi networking (802.11 b / g / n) for accessing home and corporate networks as well as hotspots while on the go Mobile Hotspot capable enabling you to connect to up to eight devices — from tablets to gaming devices — to the phone's 4G cellular connection via Wi - Fi Preloaded VZ Navigator for navigation and location services Bluetooth profiles supported Headset, Hands Free, Serial Port, Stereo, Audio / Video Remote Control, Generic Audio / Video Distribution, Advanced Audio Distribution, Audio / Video Control Transport, Object Push ProfileObject Push (Vcard, Music, Album, Cal — Push only), Phone Book Access Profile Bluetooth connectivity (version 3.1) Hardware 1.5 GHz dual - core processor speeds up everything — from playing games to watching shows to opening files from work 4.3 - inch, 720P HD super LCD2 Corning Gorilla Glass 2 display with 341 ppi Preinstalled 3FF SIM card Battery Capacity 1800 mAh, non-removable Usage time up to 15 hours Standby time up to 12.5 days Communications & Internet Microsoft Internet Explorer 10 for accessing real websites Text (SMS) and picture / video (MMS) messaging with threaded feature Access to popular instant messaging services Personal and work e-mail supports Microsoft Exchange, Gmail, Yahoo, AOL, Window Live Hotmail, POP3 / IMAP

We can perform xrays on your pet for routine screening (often done to eliminate cancer risk), if they have been in an accident, to check for ingestion of foreign material or objects, for bladder stones, or if they are displaying signs of pain.

The priceless object which had not been on display for quite a few years was particularly displayed for primary school students.

The controls are well mapped to the DualShock 4 controller by updating the controls for every season to that of A New Frontier with the control scheme consisting of pressing X, triangle, square or O to perform actions, start a conversation with a person in your group or to choose a response in a conversation with the buttons being clearly marked towards the bottom of the screen; pressing R2 to run or perform fight actions when defending yourself; pressing up or down on the d - pad to look at your inventory; mashing certain face buttons such as X, triangle, square or O when in one - on - one encounters with walkers; changing the direction of the left analogue stick to move around cover in a tight situation or walking around as you explore the environment during your search to find people and supplies; changing the direction of the right analogue stick to move the cursor around the environment for you to investigate and observe certain objects and items of importance as well as deciding who to start or continue a conversation with or even positioning your aim when you are about to defend yourself from a walker; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

The control scheme consists of pressing X, triangle, square or O to perform actions, start a conversation with a Fable or to choose a response in a conversation with the buttons being clearly marked towards the bottom of the screen; pressing R2 to run or perform fight actions when defending yourself; pressing L2 to show selectables or to perform fight actions; pressing up or down on the d - pad to cycle through your inventory; mashing certain face buttons such as X, triangle, square or O when in one - on - one fights with Fables as the buttons are randomly generated each time you play; changing the direction of the left analogue stick to move Bigby as he walks around to explore the environment; changing the direction of the right analogue stick to move the cursor around the environment for you to investigate and observe certain objects and items of importance as well as deciding who to start or continue a conversation with or even positioning your aim when you are about to defend yourself from a Fable; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

The controls are well mapped to the DualShock 4 controller by retaining the improvements from the second season with the control scheme of Michonne consists of pressing X, triangle, square or O to perform actions, start a conversation with a person in your group or to choose a response in a conversation with the buttons being clearly marked towards the bottom of the screen; pressing R2 to run or perform fight actions when defending yourself; pressing up or down on the d - pad to look at your inventory; mashing certain face buttons such as X, triangle, square or O when in one - on - one encounters with walkers; changing the direction of the left analogue stick to move around cover in a tight situation or walking around as you explore the environment during your search to find people and supplies; changing the direction of the right analogue stick to move the cursor around the environment for you to investigate and observe certain objects and items of importance as well as deciding who to start or continue a conversation with or even positioning your aim when you are about to defend yourself from a walker; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

The controls are well mapped to the DualShock 4 controller with the control scheme consisting of pressing X, triangle, square or O or alternatively by pressing up, down, left or right on the d - pad to perform a particular action, start a conversation with a person in your group or to choose a response in a conversation with the buttons being clearly marked towards the bottom of the screen; there are certain face buttons, such as X, triangle, square or O that you have to button mash when in one - on - one encounters with walkers as the buttons are randomly generated each time you play; changing the direction of the left analogue stick to move Lee around cover in a tight situation or walking around as you explore the environment and find people; changing the direction of the right analogue stick to move the cursor around the environment for you to investigate and observe certain objects and items of importance; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

The controls are appropriately mapped to the DualShock 4 controller with the control scheme consisting of pressing R2 to shoot base ammo or throw an item; holding R2 to craft base arrows; holding L2 to aim or submerge in water; pressing R1 to shoot special ammo; holding R1 to craft special ammo; pressing L1 to heal; pressing X to jump or climb; pressing square to interact with objects, use a climbing axe for grip on tough terrain, throwing a grapple axe or reloading; pressing O to scramble, roll, drop or swim; pressing O when aiming to dodge; pressing triangle to perform a melee attack or finisher; pressing up on the d - pad to select bow or cycle special arrows; pressing left on the d - pad to select a shotgun; pressing right on the d - pad to select a rile; pressing down on the d - pad to select a pistol; pressing L3 to sprint or shoulder swap when aiming; pressing R3 to focus on Lara's survival instinct or zooming when aiming; changing the direction of the left analogue stick to move; changing the direction of the right analogue stick to adjust your aim or look around the environments; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

-- The high definition display allows for more detailed character models — The «haze» that appears on far - away objects to help improve running speeds and loading times has been removed allowing for a more detailed draw distance — It appears that this version allows for more pedestrians in the playfield at any time

While the more delicate Contafili (1968) and Crescita (1968) sit on approximations of the marble supports originally used, the mammoth six - metre - long steel rod Asta (1968) is bolted to Bove's For Asta (2014), a fold of hinged steel frames; a portal; a doorway to viewing the objects on display through the eyes of a sculptor.

The Icelandic - Danish sculptor's dramatic use of light, water, and color is on full display at this solo show, which presents both signature pieces, such as «Object defined by activity (then),» and new, sensory installations created specifically for the space.

The title of the exhibition fits well: from his earliest object on display, Hunting Dogs Project (1961), a model for a public garden in the form of a maze, to PN27 Penetrable, made in 1979, a year before his death, there is a definite drive in the artist's work to contain a boundless and unpredictable human body, including the collective body — with all its joyful and painful emotions — within a certain aesthetic frame.

The objects on display, including coffins, jewels and statuary from the Brooklyn Museum's extensive, world - renowned collection, introduce visitors to the mysteries of mummification, the funeral procession and rituals that prepared the entombed deceased for passage to the underworld, the final judgment of the gods in determining the disposition of the soul and the idealized afterlife.

The works on display are not just art objects but drafts and records of daily labor, from Peter Schuyff's dozens of carefully carved wooden pencils to the late author David Foster Wallace's notes for The Pale King (written in pink Cuddly Cuties kitten journals) to the beautiful, abstract gestures recorded across Louise Fishman's canvases.

Thanks to developments in conceptual art in the 1970s, wherein artists, in the lineage of Joseph Kosuth, attempted to distill the artwork into the presentation of words and ideas rather than crafted objects — not to mention the recent vogue for archival ephemera as exhibition material — artists, curators, and museumgoers are well - acclimated to seeing pieces of text on display in museum galleries.

2016 Passman, Melissa, Art in Focus, (interview), April Boucher, Brian, «11 Booths I could hardly tear myself away from at Nada New York», artnet.com, May 6 Sutton, Benjamin, «Nada New York Gets Nasty», hyperallergic.com, May 6 Shaw, Michael, The Conversation Podcast, episode # 135, theconversationartistpodcast.podomatic.com, April 15 2015 Griffin, Jonathan, «Reviews in Brief: Max Maslansky», Modern Painters, February, p. 77 Cherry, Henry, «Escaping Monotony with Max Maslansky», Reimagine (online), February Diehl, Travis, «Critics» Picks: Max Maslansky», artforum.com, May 5 Los Angeles Review of Books, lareviewofbooks.org, (image), June 21 Hotchkiss, Sarah, «Sexy Sculpture Fills CULT's Summer Group Show», kqed.com, July 27 CCF Fellowship for Visual Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Paris, France

The Delaware Art Museum is pleased to unveil its renovated and re-installed 18th - and 19th - century American Art galleries — Galleries 1, 2, and 3 — to the public on Friday, November 28 from 10:00 a.m. — 4:00 p.m. Just in time for the holiday season, the beautifully redesigned space will display over 50 works of art, including many permanent collection objects that have not been on view for over 10 years.

Over the past three decades, Steinbach has become known for his sculptures that place ordinary objects on display — some purchased, others borrowed — to explore the intersection of our personal desires, memories, and cultural values.

Here, in a pair of grandly appointed tents in Regent's Park, art is for sale as in a deluxe flea market — contemporary work on display at Frieze art fair itself; and Old Masters, ancient objects and art of the 20th century at its companion, Frieze Masters.

«Early Netherlandish altarpiece paintings were a devotional object, kept closed and opened for display on sacred days.

With over 300 objects — from rare drawings and photographs to vintage advertisements, artist books and recreated department store window displays — many on public display for the first time, Adman provides a comprehensive look at Warhol's first decade in New York.

Her focus on the display mechanisms for objects (shelves at closing time, empty chocolate box inserts, velvet - lined jewelry cases) questions the nature of desire for the revered object itself.

Select past exhibitions include Person of the Crowd: The Contemporary Art of Flânerie (2017), a city - wide exhibition featuring works by more than 50 artists in the Roberts Gallery, in street interventions throughout Philadelphia, and on the web; Nari Ward: Sun Splashed (2016), a mid-career survey of the artist's found - object assemblage art; Picasso: The Great War, Experimentation and Change (2016), which examined the artist's stylistic development during the First World War; and Mark Dion, Judy Pfaff, Fred Wilson: The Order of Things (2015), for which the Barnes commissioned three large - scale artist installations in response to the unconventional way Dr. Barnes displayed his collection.

Glamour Wig, 2005, for instance, takes a stepladder and a rock star wig to create a pastiche of a skinny, androgynous long - legged glam rock star with a gaping mouth, mining the theatricality of the objects on display and contesting the histrionics behind the ideals of heroism and beauty that figurative sculptures embody.

For this exhibition, Vallance presents one of his many object collections which is displayed on a replica of a wall from his home.

Situated among the beams of the High Line exposed entirely in this exhibition for the first time, the eight sculptures on display combine to create a forest of displaced objects and reveal the artist's interest in tradition and contemporaneity as well as the prevalence of displacement in post-modern societies.

A Long Day for the Form focuses on David Maljković's conceptual practice of restaging and re-presenting existing objects or displays that has already been thoroughly explored in shows at Sprueth Magers, Berlin, Kunsthalle, Basel, Sculpture Centre, New York and Secession, Vienna.

Most of the objects selected for display have not been on view in decades, and through them visitors can compare Japanese artists from the seventeenth century with later artists, and see the changing tastes not only in Japanese art, but also among American collectors.»

The works on display range from preparatory works on paper for existing sculptures to the book as object and motif, animation film and paper mãché.

The objects on display at CHRISTIAN LARSEN bear the traces of their automatic and automated production, each pointing toward a different path for Alvarez to pursue on a greater scale.

Some elements, silkscreened on vinyl, look dimensional, while others are a mix of found objects and ceramics that the artist constructed for the display.

Whether it be Marina Abramovic's laying out of «72 objects of pain or pleasure» on a trestle table or Rebecca Horn exhibiting the props she used in her 1970s performances or Meschac Gaba displaying scores of pretend exhibits for his «Museum of Contemporary African Art», what all this art has in common is long - windedness.

Quaytman has also displayed her paintings on storage racks placed within the exhibition space, pointing to the eventual passage into obscurity of most aesthetic objects as they make space for others.

Having incorporated objects from local collections in his exhibitions at the Center for Curatorial Studies Bard Hessel Museum in Annandale - on - Hudson, New York, in 2013, with which the Kunsthalle Zürich is collaborating for this exhibition, and at the Serpentine Galleries in London in spring 2014, Haim Steinbach also integrates specific objects and artworks from Zürich art collections into his «Displays.»

Work from her Espectaculares series offers a massive curtain stitched from found fabric with ceramic vessels and structural elements that viewers have to navigate, while a new sculptural installation invites visitors to exchange a meaningful object or work of art for previously bartered items that are displayed on a giant grid in the museum's lobby gallery.

Three prints that restage historical moments of social conflict are on display in the Linda and Lawrence Perlman Gallery (368) for the «Then» section; three recent «straight» photos of accumulated objects and an artist studio are juxtaposed with artworks in the MIA's permanent collection in the «Now» section.

2000 The Work Shown in this Space is a Response to the Existing Conditions and / or Work Previously Shown Within the Space III, Neuger Riemschneider, Berlin, DE Sequences, Galerie Roger Pailhas, Marseille, FR La Frontière, Recit d'Expériences, one of several exhibitions collectively entitled «Réseau Galleries / Multilangages de l'Art», Institut d'Art Contemporain - FRAC Rhône - Alps, Villeurbanne / Collège de Prévessin - Moëns (Ain), Academie de Lyon, FR TransAct - Platform for Transitional Activities in the Cultural Field, «Museum in Pro-gress» in cooperation with «Art Pool», Vienna, AT Shoot: Moving Pictures by Artists, Malmö Konsthall / The Cinema Spegeln / Restaurant Hipp, Malmö, SW; Living Art Museum, IS, as part of Kyikar Myndir show, Reykjavik, IS Never Exhibited: Works from the Marieluise Hessel Collection, Center for Curatorial Studies, Bard College, Annandale, New York, US Copyright / Copywrong, Ecole Régionale des Beaux - Arts de Nantes, Nantes, FR Thirtieth Anniversary Benefit Silent Auction, White Columns, New York, US Two by Two for Aids and Art, Dallas Museum of Art, Dallas, Texas, US Dust and Dirt, De Witte Zaal in cooperation with SMAK, Ghent, BE L'Elemento Verbale Nell» Arte Contemporanea, Galleria Martano, Torino, IT; Galleria Martano, Milan, IT Sentimental, Galerie Yvon Lambert, Paris, FR Die Natur der Dinge, NRW - Forum Kultur und Wirtschaft, Düsseldorf, DE Pure, one of several simultaneous exhibitions around UK, collectively entitled On the FRAC Track: A Selection of International Art from the Collection of Fonds Régional d'Art Contemporain (FRAC), Nord - Pas de Calais, Maidstone Library Gallery, Maidstone, UK Under the Apple Tree, Galleria Massimo de Carlo, Milan, IT A Tribute to Robert Hopper, Yorkshire Sculpture Park, West Yorkshire, UK From Here to There - Passageways at Solitude, Akademie Schloss Solitude, Stuttgart, DE Topologies, White Box, New York, US Multiple Configurations: Displaying the Contemporary Portfolio, Busch - Reisinger Museum, Harvard University, Cambridge, Massachusetts, US Heimatweh — Fernlust, Galerie Herbert Winter, Vienna, AT In the Mirror of Space and Time, Listasafns ASÍ, Reykjavik, IS Árátta, Listasafn Kópavogur, Reykjavik, IS Recent Works on Paper, Leo Castelli Gallery, New York, US Présumés Innocents: l'Art Contemporain et l'Enfance, Musée d'Art Contemporain, Bordeaux, FR l'Oeuvre Collective, les Abattoirs, Toulouse, FR Arteast 2000 + The Art of Eastern Europe in Dialogue with the West, from the 1960s to the Present, Moderna Galerija Ljubljana, SL Works by Peter Friedl, Thomas Hirschhorn, Lawrence Weiner, Arndt & Partner [Gallery], Berlin, DE (E Così Via)(And So On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers, Art Gallery of Nova Scotia & Nova Scotia College of Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, On the FRAC Track: A Selection of International Art from the Collection of Fonds Régional d'Art Contemporain (FRAC), Nord - Pas de Calais, Maidstone Library Gallery, Maidstone, UK Under the Apple Tree, Galleria Massimo de Carlo, Milan, IT A Tribute to Robert Hopper, Yorkshire Sculpture Park, West Yorkshire, UK From Here to There - Passageways at Solitude, Akademie Schloss Solitude, Stuttgart, DE Topologies, White Box, New York, US Multiple Configurations: Displaying the Contemporary Portfolio, Busch - Reisinger Museum, Harvard University, Cambridge, Massachusetts, US Heimatweh — Fernlust, Galerie Herbert Winter, Vienna, AT In the Mirror of Space and Time, Listasafns ASÍ, Reykjavik, IS Árátta, Listasafn Kópavogur, Reykjavik, IS Recent Works on Paper, Leo Castelli Gallery, New York, US Présumés Innocents: l'Art Contemporain et l'Enfance, Musée d'Art Contemporain, Bordeaux, FR l'Oeuvre Collective, les Abattoirs, Toulouse, FR Arteast 2000 + The Art of Eastern Europe in Dialogue with the West, from the 1960s to the Present, Moderna Galerija Ljubljana, SL Works by Peter Friedl, Thomas Hirschhorn, Lawrence Weiner, Arndt & Partner [Gallery], Berlin, DE (E Così Via)(And So On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers, Art Gallery of Nova Scotia & Nova Scotia College of Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, on Paper, Leo Castelli Gallery, New York, US Présumés Innocents: l'Art Contemporain et l'Enfance, Musée d'Art Contemporain, Bordeaux, FR l'Oeuvre Collective, les Abattoirs, Toulouse, FR Arteast 2000 + The Art of Eastern Europe in Dialogue with the West, from the 1960s to the Present, Moderna Galerija Ljubljana, SL Works by Peter Friedl, Thomas Hirschhorn, Lawrence Weiner, Arndt & Partner [Gallery], Berlin, DE (E Così Via)(And So On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers, Art Gallery of Nova Scotia & Nova Scotia College of Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers, Art Gallery of Nova Scotia & Nova Scotia College of Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, ES

The object of my disgust was a rehanging of Tate Britain in London in which gallery after gallery of pre-20th century art was cleared out to make way for a display that concentrated heavily, in fact almost exclusively, on British modern art.