1/14/1989 – 2/11/1989

Curator(s): Papo Colo and Jeanette Ingberman

Exhibition: An installation of new work from this Armenian-American artist who works in sculpture, drawing and installation. The exhibition combined several of her series of figurative acrylic washes on paper with large-scale sculptural installations.

Publication: Catalog with essay by Donald Kuspit and documentation of the series of drawings.


2/18/1989 – 4/1/1989

Curator(s): Papo Colo and Jeanette Ingberman

Exhibition: A show of new paintings by this emerging artist. Hammond’s work incorporates an inventory of signs and symbols combined into thickly painted, information-filled abstract paintings. This presentation of Hammonds’ work inserted her into the dialogue of contemporary art.

Publication: Color catalog with an essay by poet Robert Creeley.


4/8/1989 – 5/6/1989

Curator(s): Papo Colo and Jeanette Ingberman

Exhibition: An installation of the study of Sutra writing by this Japanese artist on canvases, rocks, scrolls, and wood, developed over the twelve years he had been in this country.

Travel: Institute of Contemporary Art, Philadelphia, PA


5/13/1989 – 6/10/1989

Curator(s): Papo Colo and Jeanette Ingberman

Exhibition: A new installation by this multi-media conceptual artist who created a sculpture and sound installation using, among other things, one half ton of stove coal, a “blues” toy train and real railroad track, and four music soundtracks featuring John Coltrane. This exhibition explored interwoven meanings of verbal and visual puns, playing homage to the physical and symbolic presence of the train in American black culture as the symbol of going North and of urban culture.

Event: June 1, 1989, Incubation: An Evening of Poetry and Fiction with four contemporary African American poets and writers: Amira Baraka, Amina Baraka, Darius James, and John Farris. The program, organized by Farris, brought together a group of writers who presented some of their current work in a context with the Hammons installation.

JUAN SANCHEZ: Rican Structed Convictions

6/17/198 – 7/22/1989

Curator(s): Papo Colo and Jeanette Ingberman

Exhibition: A survey exhibition of ten years of work by this Hispanic American artist who addresses the concerns of Puerto Rican independence, nationalism and identity in our contemporary culture. Often combining collaged photographic and Xerox images, the artist also incorporates historical Taino Indian and African symbols and iconography.

Event: Poetry Rican/Structing: An Evening of Readings

Publication: Color catalog documenting his work with essays by Shifra M. Goldman, Papo Colo and Lucy R. Lippard; artist’s biography and bibliography.

Travel: CU Art Galleries, University of Boulder, CO, Massachusetts College of Art, MA

KRZYSZTOF WODICZKO: New York City Tableaux, Tompkins Square

9/23/1989 – 10/28/1989

Curator(s): Jeanette Ingberman, Julie Courtney

Exhibition: Challenging himself to work inside the gallery space, Wodiczko created a new installation using projections to produce an entire environment, a labyrinth of photomontage as theater in which the viewing public was inserted into the projections as they walked through the space. Included in the installation was a second prototype of the Homeless Vehicle, and a videotape documenting the vehicle in use on the streets of New York. This work deals with issues of the needs and rights of homeless people, especially those of Tompkins Square with whom the artist has been working for three years.

Publication: Comprehensive catalog with essays by art historian Rosalyn Deutsche, Julie Courtney, an introduction by Papo Colo, a time line on Tompkins Square Park by Prof. Neil Smith, extensive photo-documentation of the Homeless Vehicle in use and documentation of the installation.

Travel: The Painted Bride, Philadelphia, PA; Tyne International Exhibit, UK; Oregon Art Institute, Portland, OR; Washington Project for the Arts, Washington D.C.; Wexner Center for the Visual Arts, Columbus, OH; San Francisco Museum of Modern Art, San Francisco, CA; Indianapolis Museum of Art, Indianapolis, IN; Galerie Gabrielle Maubrie, Paris, France; Fundacion Tapies, Barcelona (1992 Summer Olympics; Washington University Gallery of Art, St. Louis, MO; Atrec 93, Nagoya, Japan; Walker Art Center, Minneapolis, MN

JIMMIE DURHAM: The Bishop’s Moose & the Pinkerton Men

11/1/1989 – 12/2/1989

Curator(s): Papo Colo and Jeanette Ingberman

Exhibition: An installation using found and fabricated objects such as animal skulls, feathers, and written texts that Durham uses to challenge our ideas about authenticity, culture and “Indian-ness” and to critically comment on the postmodern mainstream history of New York City.

Event: Hermeneutical Considerations of the Bishop’s Moose was a performance work by Durham reflecting on the varied interpretations on the meanings of being civilized or uncivilized in our society. It was staged in The Reading Room of the Century Club, an environment created within the exhibition to house Durham’s book, The Mystery of the Two Islands.

Publication: Comprehensive catalog with an introduction by Papo Colo, essays by Luis Camnitzer, Lucy Lippard, Jean Fisher, an interview between Jeanette Ingberman and Jimmie Durham and documentation of the works in the exhibition.

Travel: The Western Gallery, Bellingham, WA; CU Art Galleries, University of Colorado, Boulder, CO; Canadian Museum of Civilization, Hull, Canada; Center for Contemporary Art of Santa Fe, Santa Fe, NM; Santa Barbara Contemporary Arts Forum, Santa Barbara, CA


12/9/1989 – 1/20/1990

Curator(s): Margarita Tupitsyn

Artists: Gia Abramishvilli, Africa, Sergei Anufriev, Ivan Chuikov, Collective Actions, Vadim Fishkin, Edward Gorokhovsky, Ilya Kabakov, Nikolai Kozlov, Yurii Leiderman, Igor Makarevich, Boris Matrosov, Medical Hermeneutics, Irina Nakhova, Timur Novikov, The Peppers, Pavel Peppershtein, Victor Pivovarov, Andrei Roiter, Leonid Voitsekhov, Sergei Volkov, Igor Zaidel

Exhibition: A conceptual exhibition of paintings and sculpture from the Soviet Union exploring the socio-cultural significance of the color green as a paradigm of glasnost (policy of maximal publicity, openness, and transparency introduced by Gorbachev) in Soviet life. The show, curated by art historian Margarita Tupitsyn, presented twenty-one Moscow artists, both established and emerging, many of whom had never exhibited in the U.S., and who were pursuing similar theories in their work.

Publication: Comprehensive catalog with essays by curator Margarita Tupitsyn, commissioned essays by Russian artists and theorists Sergei Anufriev, Joseph Bakshtein, Andrei Monastyrsky, Pavel Peppershtein, Mikhail Ryklin, and a conversation between Victor and Margarita Tupitsyn

Travel: Dunlop Art Gallery, Regina, Canada; Mendel Art Gallery, Saskatoon, Canada