1/27/1990 – 2/18/1990

Curator(s): Papo Colo, Jeanette Ingberman, and Jordi Torrent

Event: A three-week presentation that focused on Samuel Beckett’s work for media including film, television, and radio. Internationally known for his novels and stage plays, Beckett’s work for radio and television remain an unknown part of his output, especially in the United States. Most of the program consisted of US premieres of the work, which was originally produced in Great Britain and West Germany, including many pieces personally directed or supervised by Samuel Beckett. After their original broadcast, these productions had only on rare occasions been publicly presented. This presentation included daily screenings of the radio plays and teleplays, and broadcast of the radio plays on WNYC-FM.

January 27 – 28, 1990, The Beckett Forum, a concentrated two-day presentation of all of Beckett’s media work in TV, film and radio. A roundtable discussion focusing on Beckett’s media work concluded the Forum. Moderated by Thomas Bishop, Beckett’s media archivist in the US, the panelists were Everett Frost, Linda Ben-Zvi, Stan Gontarski, John Fuegi, and Jonathan Kalb.

February 2, 1990, Political Echoes in Beckett was a lecture by Beckett scholar Rosette Lamont.

February 2 – 17, 1990, Not I and Catastrophe, productions of two of Samuel Beckett’s stage plays. Not I starred Sonja Lanzener and Catastrophe starred Bud Thorpe and Caitlin Hart. Both plays were directed by Bud Thorpe, an actor associated with the San Quentin Drama Workshop, which has performed extensively in Europe under Beckett’s direction.


3/3/1990 – 4/21/1990

Curator(s): Papo Colo and Jeanette Ingberman

Artists: Vito Acconci, Gempei Akasegawa, Louis Aragon, Art Workers Coalition, Gunther Brus, Chris Burden, Gordon Matta Clark, Papo Colo, DIAS, Bogomir Ecker, William Farley, John Fekner, Guerilla Art Action Group (GAAG, Guillermo Gomez-Pena, John Giorno, David Hammons, Abbie Hoffman, Tehching Hsieh, Jay Jaroslov, Komar & Melamid, George Maciunas, Ann Messner, Richard Mock / Cesar Chavez, Peter Monnig, Charlotte Moorman, Charlotte Moorman, Paulette Nenner, Dennis Oppenheim, People’s Flag Show, Real Estate Show, Carolee Schneemann, Dread Scott, Jack Smith, Krzysztof Wodiczko

Exhibition: This historical show examined artists’ work, 1930 to 1990, from the United States, Europe and Japan who, in the process of making their work, came into conflict with the law, challenging issues of legality and censorship. The show included photo-documentation of the work with an artist statement and extensive written documentation of each incident, many of which continued as legal cases.

Illegal America, Exit Art’s first project, was first presented in 1982 at Franklin Furnace Archive; here it was re-presented in an expanded context at Exit Art. Illegal America traced the history of illegality as an artistic discourse in an exhibition comprised entirely of documenation – photographs, ephemera, legal documents, and the artists’ statements – related to artists’ actions ranging from treason to forgery to trespassing, lewd public exposure, theft, damage of private property, and other nuisances.

Travel: Western Gallery, Western Washington University, Bellingham, WA; Otis Art Institute of Design, Los Angeles, CA


4/28/1990 – 5/26/1990

Curator(s): Papo Colo and Jeanette Ingberman

Exhibition: Sculptor, performance artist and poet, Cecilia Vicuña examined the changing environment of North and South America through found objects, both natural and man-made, urban and rural, to create sculptural works. During the course of the exhibition, Vicuña created temporary installations at unspecified locations in the streets of New York.

Publication: Catalog documenting her installation and past outdoor works and performances in North and South America. Essays by art historian Lucy R. Lippard and poet Eliot Weinberger.

INTERNAL EXILE: New Films and Videos from Chile

5/11/1990 – 5/12/1990

Curator(s): Coco Fusco and Third World Newsreel

Artists: Leopoldo Correa, Nestor Olhagaray, Marcela Poch, Francisco Arevalo, Pablo Lavin, Juan Downey, Gonzalo Justiniano

Event: This program was the first exhibition of media art produced by directors living and working inside Pinochet’s Chile to come to the United States. The program featured fiction films and experimental video that examined the long-term psychological and social impact of the seventeen-year dictatorship that ended in 1990. Internal Exile highlighted the Chilean cultural resurgence of the 1980s that prefigured into the country’s transition to democracy that year. Presented by The Museum of Modern Art and Exit Art.



Curator(s): Papo Colo and Jeanette Ingberman

Artists: Jimmie Durham, Suzan-Lori Parks & Philip Perkis, Guillermo Gomez-Pena, Elizabeth Streb/Ringside, Gretchen Langheld & House Afire, David Linton, Jane Scarpantoni & Max Nagl and Reno

Event: Tantrum was a collaborative night of music, dance, performance and non-conformity. The artists explored how their work redefined the boundaries of their mediums.


Paintings and Works on Paper 1980-1990
6/9/1990 – 7/1/1990

Curator(s): Papo Colo and Jeanette Ingberman

Exhibition: An overview of this French-American painter, whose canvases combine abstract, cartoon and figurative images to create his own language.


9/8/1990 – 9/30/1990

Curator(s): Papo Colo and Jeanette Ingberman

Exhibition: The first comprehensive survey exhibition of Hachivi Edgar Heap of Birds that brought together his work from different media – paintings, drawings, and public installations. His abstract paintings done between 1979 and 1989 and his “language drawings” are based on relationships with the natural world, drawing ties between nature and culture. In their form and content, these works challenge the ambivalent language of racial stereotypes. His paintings combine a “mapping” of Native American symbols and representations of the earth and nature. His language drawings address the question of identity, culture and survival of the natural world. Together they draw the viewer’s attention to dominant attitudes towards North American peoples and to the material conditions in which we exist. His site-specific public work often brings attention to the geographic and cultural identity of Indian tribes from the area.

Publication: Essays by Lowery Stokes Sims, Jean Fisher and Papo Colo, texts by Edgar Heap of Birds; 32 pages, 2 color and 18 black and white reproductions, a complete biography and bibliography.

Travel: Walker Art Center, Minneapolis, MN; San Jose Museum of Art, San Jose, CA; Lawrence Arts Center, Lawrence, KS


10/13/1990 – 11/3/1990

Curator(s): Papo Colo and Jeanette Ingberman

Exhibition: Adrian Piper has made her art a long-standing commitment to confronting prejudice in America in its many forms: sexual, racial, ethnic. Her art uses critical strategies and analytic philosophy in a conceptual manner to shift the way that we view ourselves in a society where prejudices are still being perpetuated. This exhibition included the Vanilla Nightmares series (1986-90), an ongoing series of drawings on newspaper pages from The New York Times and a recent series of works combining photo collages and text. Both series used appropriated images from the media to examine the overt and subliminal racism pervasive in our society.

Publication: Pretend, an artist book by Adrian Piper, was a 24-page portfolio of loose sheets that included 17 photographic images, some of which included words, an essay by art historian and cultural critic Mary Anne Staniszewski, and a text by the artist.


11/7/1990 – 11/10/1990

Curator(s): Keith Sanborn

Artists: Dziga Vertov, Jean-Isidore Isou, Luis Bunuel, Rene Clair, Maurice Lemaitre, Alain Resnais, Bruce Connor, Jens Jorgen Thorsen, Gil Wolman, Rene Vienet.

Event: This historical program of films from the Lettristes, the Lettristes International, and the Situationist International (SI) presented rarely seen cinematic works in the context of their film antecedents and related film work produced during the French, German, and Russian avant-garde cinema history.

In the post-war period in Paris, the Lettristes, the Lettriste International, and the Situationist International developed a critique of everyday life lived in the shadow of the media: a sustained interrogation of the role of cultural production in post-war western consumer culture. Through its relentless analysis and critique, the multi-media work of the SI raised issues and proposed responses that invigorated the creative landscape of the late 1950s and early 1960s, played a catalytic role in the uprisings of May 1968 and remarkably, remains to this day central to the debates in contemporary art.


11/17/1990 – 1/19/1990

Curator(s): Papo Colo and Jeanette Ingberman

Exhibition: Tongues of Flame was the first comprehensive exhibition of this multi-disciplinary artist’s work. A retrospective exhibition containing sixty-one works from 1978 to 1990, David Wojnarowicz’s controversial imagery was expressed through painting, collage, sculpture, photography, installation, and prose, challenging oppressive socio-political contingents, and addressing societal and sexual taboos.
In an honest and sincere manner, Wojnarowicz’s art and writing explored the myriad problems of contemporary society: our loss of contact with the natural environment, a pervasive lack of spirituality, the AIDS epidemic, homophobia, and our government’s lack of tolerance for racial, sexual and economic minorities. Wojnarowicz confronted all of these issues in powerful, insightful, and poetic works of art and writing.