1/17/1998 – 3/29/1998

Curator(s): Papo Colo and Jeanette Ingberman

Artists: David Brody, Fabia Closson, Nancy Cohen, Steve Currie, Inka Essenhigh, Peter Hildebrand, Herb McGilvray, Arnaldo Morales, Daniel Pittman, Bruce Pearson, Joslin Stevens, Patrick Thorne, Rodney Allen Trice, Daniel Zeller, Shari Zolla

Exhibition: Wild was a turbulent body constructed of related sensibilities. It was an assemblage of anomalies, drawn by associations across the mediums of painting, sculpture, drawing, and installation. The exhibition presented the artists’ unusual uses and interpretations of these traditional mediums and the unexpected manipulation of materials and subject matter. The wildness was in the juxtaposition of materials, expanding the traditional interpretations of those mediums.

Propelled by the wilder-than-ever spirit of New York City, Wild gave form to the charged atmosphere around us. With work culled from one year of actively seeking out and reviewing new artists’ work, Wild presented what Exit Art saw happening at the moment in the studios that they visited in and around the city.


2/12/1998 – 3/19/1998

Curator(s): Alien Comic, Ami Armstrong, and Julia Martin

Artists: Edgar Oliver, Sari Bodi, Allen Zadoff, Prudence Wright Holmes, El Lash, Sara Surrey, Vincent Dow, Amalie Ceen, Jennifer Ward, Judith Van Buren, Harold Pinter, Edward Einhorn, Marcus Powell, Caroline Rosenstone, Arsene Dupin, Jack Bump, Lucy Sexton, Ami Armstrong, Madeline Olneck, R. Sikoryak, Ken Bullock, Dale Goodson, Scott Adkins

Performance: Hybrobar was a series of theatrical evenings for which Exit Art’s cafe was the stage. As a new venue for directors, writers, and actors, each evening of Hybrobar hosted a series of short performances – monologues, scenes, short plays, works in progress – by an exciting selection of both accomplished and emerging thespians. Each evening was organized by a different performance coordinator.

Hybrobar drew on the history of the bar/cafe as a site for performance – from cabaret to stand-up comedy to improvisation. By virtue of being a communal, relaxed space, the bar is an optimal arena for interaction among performers and audiences. Hybrobar provided an opportunity for writers, directors and actors to challenge themselves and further develop their crafts by presenting work in an atmosphere where feedback was immediate and experimentation essential.

Event: March 11 – April 1, 1998, Hybro Video, curated by Jodi Hanel and Kate Hackman. Hybro Video was a series of video programs that took place in Exit Art’s cafe. Hybro Video provided a forum for video artists to gain exposure for their work and to meet and exchange ideas in a creative, informal environment. Each evening’s program consisted of a series of short videos by a diverse selection of artists. The artists were Guy Richards Smit, Lou Fernandez, Neil Goldberg, Laura Parnes, Jem Cohen, Ethan H. Minsker, Daniella Dooling, Ann Gardiner, Les LeVeque, Rose Miasaki, Diane Nerwin, Nurit Newman, Chris Doyle, Maria Venuta, Sue de Beer, Matt Morello, Keith Sanborn, Adam Cohen, David Shapiro, Diane Bonder, Martin Meyer, and Rico Gatson.

TRANSMISSIONS: Channeling Cultural Information Through the Medium of Video

5/9/1998 – 7/11/1998

Curator(s): Papo Colo and Jeanette Ingberman

Participants: Darsie Alexander (Curatorial Assistant, The Museum of Modern Art), Bill Arning (Independent Curator/Critic), Joseph Backstein (Director, Institute for Contemporary Art, Moscow), Tamas Banovich (Independent Curator), Amnon Barzel (Curator, Judisches Museum, Berlin), Barry Blinderman (Director/Curator, Illinois State University Galleries), Dan Cameron (Senior Curator, New Museum), Papo Colo and Jeanette Ingberman (Curators, Exit Art), Pip Day (Curator, Artists’ Space), Okwui Enwezor (Independent Curator), Fab 5 Freddy (Cultural Critic), Richard Flood (Curator, Walker Arts Center), Christian Haye (Writer, frieze, London), Hou Hanru (Independent Curator), Laura Hoptman (Curator, The Museum of Modern Art), Evelyne Jouanno (Independent Curator) Yu Yeon Kim (Independent Curator), Barbara London (Curator of Film and Video, The Museum of Modern Art), Amerigo Marras (Independent Curator) Jay Murphy (Writer, Critic), Dominique Nahas (Independent Curator/Critic), Hans Ulrich Obrist (Independent Curator), Celeste Olalquiga (Cultural Critic), Andrzej Przywara (Curator, Galeria Foksal, Warsaw), Hani Rashid (Director, Asymptote), Larry Rinder (Director, Institute for Exhibitions and Public Programs, CCAC, S.F.), Kenny Schacter (Independent Curator), Ingrid Shaffner (Independent Curator), Patterson Sims (Curator, The Museum of Modern Art), Oleksandr Soloviev (Independent Curator), Mary Anne Staniszewski (Cultural Critic, Professor, Rensselaer Polytechnic Institute), Robert Storr (Curator, The Museum of Modern Art), Adam Szymczyk (Curator, Galerie Foksal, Warsaw), Christoph Tannert (Director, Kunslerhaus Bethanien, Berlin), Theo Tegelaers (Director/Curator, W139, Amsterdam), Cesar Trasobares (Independent Curator), Adam Weinberg (Curator, Whitney Museum of American Art), Martha Wilson (Director, Franklin Furnace Archives), Octavio Zaya, (Independent Curator/Critic), Lynn Zelevansky (Curator, Los Angeles County Museum of Art)

Exhibition: Transmissions was about the vision of the curator/critic – how they absorb cultural information and communicate that information to the public. For the exhibition, a group of national and international curators and cultural critics made hour-long unedited videotapes with the purpose of exposing a fragment of their behavior, their modus operandi. The format varied and was entirely up to the individual – ranging from an interview, a visit to an artist’s studio, a meeting or conversation, impressions of a place or space – any kind of cultural information they wanted to transmit. The video camera became the eye of the curator/critic, recording and revealing the information each of them absorbs and extracts from their daily experiences and framing that information, in whatever way they chose, for the public to see.

The exhibition consisted of a rotating selection of the videos that were shown on an ongoing basis in Exit Art’s two gallery spaces. The collections of tapes were augmented continuously over the course of the show. Videos were projected on the gallery walls, as well as shown on monitors in more intimate viewing areas. Tapes were changed every hour.

NEW YORK STORIES: Drawings by Seth Tobocman and Photographs by Brian Weil

9/18/1998 – 10/31/1998

Curator(s): Papo Colo and Jeanette Ingberman

Exhibition: New York Stories presented the work of artists Seth Tobocman and Brian Weil. Both artists provided an insider’s perspective on distinct New York communities and moments that their works and their activism helped to define. In conjunction with the exhibition, there was a series of public programs – video screenings, literature and poetry readings, multi-media and musical performances – which told other New York stories from very personal perspectives. In all of these, New York City was cast as a central character.

New York Stories featured original drawings by Seth Tobocman, from his graphic novel, War in the Neighborhood, in which he documented the strife he was witness to on the Lower East Side, centering around Tompkins Square Park. Tobocman is a comic artist who, with Peter Kuper, founded the seminal political, all-comics magazine World War III Illustrated in 1980. He also produced freelance illustrations for The New York Times and published You Don’t Have to Fuck People Over to Survive. Living on the Lower East Side of Manhattan, he remains an important voice in the community, and through his comics and activism has brought issues of squatters’ rights, police brutality, domestic violence, and gentrification to the attention of a broader public.

The documentary photographs of Brian Weil reflected his intense involvement with social issues and communities at the “fringes” of society as well. The large-scale black and white photographs provided intimate perspectives on individuals and communities. Like Tobocman, Weil was an active presence in the communities he depicted in his artwork. Among the series of photographs featured in the exhibition were the Sex Series (1978-1980), the Midget Boxers and Wrestlers Series (1980-1982), the Hasidic Jews Series (1982-1984) and the AIDS photographs (1985-1991). In the period from 1985 to his death in 1996, Weil worked with the Gay Men’s Health Crisis, ACT UP, AIDS Brigade, and served as the Director of the Bronx-Harlem Needle Exchange and later was the founding Executive Director of the CitiWide Harm Reduction: Brian Weil Needle Exchange in the South Bronx. This activism particularly informed and personalized his photographic recordings of the complex consequences of the AIDS crisis, his largest body of work.

Events: New York Stories: Video Program 1; Hanging Loose Press: Literary Evening 1; A Gathering of the Tribes #8, Book Launch; Avenue A Cut Out Theater, a performance piece by Anton Van Dalen; Asian American Writers Workshop: Literary Evening 2; New York Stories: Video Program 2; War In the Neighborhood, a live multi-media event by Seth Tobocman; New York Stories: Video Program 3; Big City, live music about New York with singer Nora York; Noddy Couch, a multi-media event curated by Mike Ballou of Four Walls with music by David and Paul Sher, Brian Dewan and readings by Ross Klavan; New York Stories, Literary Evening 3 with Linda Yablonsky and Lynne Tillman


11/14/1998 – 1/2/1998

Curators: Ida Applebroog, Nicole Eisenman, Robert Gober, Antony Gormley, Gottfried Helnwein, Damien Hirst, Ronald Jones, Frank Moore, Cindy Sherman, Laurie Simmons, Kiki Smith, Sam Taylor-Wood, Nari Ward

Artists: Jane Higgins, Saeri Kiritani, Lisa Petsu Lagunes, Alison Kelly, Maria E. Piñeres, Suzanne Wright, Jonathon Hexner, Ignassi Aballi, John Patrick Clayman, Iris Andraschek, Danielle Kraay, Rachel Howard, Eric Schnell, Aaron Cobbett, Michael Combs, Charles Clough, Susan Jennings, David Krueger, Gail Le Boff, Helen Rousakis, Pedro Barbeito, Joey Kötting, Georgie Hopton, Brett Cook Dizney, Chris Sollars

Exhibition: The Choice was an exhibition that identified unknown and emerging artists through the viewpoint of leading contemporary artists. We invited an international group of artists to engage their own curatorial ideas. In the role of curator, these artists were asked to present the work of artists they followed or whose work affected them in a personal way. In keeping with Exit Art’s mission to bring the work of emerging artists to a broader audience, they were asked that the artists they chose had not had major exposure.

Each of the participating artists/curators was chosen for their different perspectives on contemporary art. Through juxtaposing each of the curator’s selections within the context of a larger exhibition, new readings of relationships, influences, parallels and differences among a diverse group of artists was suggested. The Choice created a web of opposing and complimentary visions, revealing a more inclusive and open reading of recent developments in contemporary art.