ニューヨーク・タイムズのインスタグラム(nytimes) - 3月18日 04時33分

Since moving downtown, the @whitneymuseum has grown up, thanks to a larger, dashing new building, more ambitious exhibitions and new responsibilities brought by rising attendance and membership. No surprise, the #WhitneyBiennial has grown up, too. The 2017 Biennial, the first held in the expansive Renzo Piano-designed structure in Manhattan’s Meatpacking District, spotlights 63 artists and collectives. Nearly half of the show’s participants are female, and half nonwhite; its demographics argue that not only do black lives matter (along with Hispanic, Asian, Muslim and immigrant lives), they are essential to our quality of life — physical, emotional, cultural, linguistic, economic, educational, environmental. The show’s strength and focus make it doubly important at a time when art, the humanities and the act of thinking itself seem under attack in Washington. Philip Greenberg photographed Larry Bell’s outdoor sculpture “Pacific Red ll” [2017 Larry Bell/Artists Rights Society (ARS)] at the #WhitneyBiennial while on #nytassignment; swipe left to see photos of Rafa Esparza’s “Figure Ground: Beyond the White Field” and Samara Golden’s “The Meat Grinder’s Iron Clothes” (2017).

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