Rachel Wetzler
→ About
→ Selected Writing
→ More Writing
Review: Whitney Biennial 2024 (06/2024)
Essay: Terms and Conditions: The Art of Ghislaine Leung (05/2024)
Review: Paul Thek at Galerie Buchholz (05/2024)
Essay: Close Up: Thomas Hirschhorn, Fake It, Fake It—Till You Fake It. (03/2024)
Review: “If Our Soup Can Could Speak: Mikhail Lifshitz and the Soviet Sixties” at the Garage Museum of Contemporary Art, Moscow, (06/2018)
Review: “Thomas Bayrle: Complete Films 1979-2007” at Gavin Brown (05/2016)
Art in America:
Essay: Making Space, on Katarzyna Kobro and Constructivist sculpture (09/2022)
Review: Venice Biennale: The Milk of Dreams (09/2022)
Essay: What Was Surrealism?, on “Surrealism Beyond Borders” at the Met and Tate Modern and the movement’s historiography (04/2022)
Review: Sophie Taeuber-Arp at MoMA (03/2022)
Review: Louise Lawler at Metro Pictures (11/2021)
Essay: The Art of the Con, on art world novels (07/2021)
Review: Learning from Ljubljana, on A Slow Burning Fire: The Rise of the New Art Practice in Yugoslavia by Marko Ilić (03/2021)
Essay: The Work of Realist Art, on contemporary worker portraits and the realist tradition (09/2020)
Review: Sam McKinniss at JTT (06/2020)
Review: Gerhard Richter at the Met Breuer (05/2020)
Essay: The Good, the Bad, and the Ugly, on Jana Euler (04/2020)
Review: Julije Knifer at Mitchell-Innes and Nash (03/2020)
Review: Hugh Scott-Douglas at Casey Kaplan (02/2020)
Review: Karen Kilimnik at 303 (01/2020)
Review: Lives of the Art Historians, on A History of Art History by Christopher S. Wood and The Barbarian Invasions: A Genealogy of the History of Art by Éric Michaud (01/2020)
Interview: In the Studio: Alexandre Singh (12/2019)
Review: Piotr Uklański at Luxembourg & Dayan (12/2019)
Review: David Hammons at Hauser & Wirth, Los Angeles (09/2019)
Review: Dash Snow at Participant Inc. (06/2019)
Review: Dana Schutz at Petzel (04/2019)
Essay: Communal Luxury, on Paulina Ołowska (03/2019)
Review: Lisa Yuskavage at David Zwirner (01/2019)
Review: Charline von Heyl at Petzel (12/2018)
Review: Banks Violette at Gladstone 64 (11/2018)
Essay: Personal Monuments, on Ursula von Rydingsvard (10/2018)
Review: Berlin Biennale 10 (09/2018)
Essay: Gut Renovation, on Gordon Matta-Clark (03/2018)
Review: Kenny Scharf at Jeffrey Deitch (02/2018)
Review: Gelatin at Greene Naftali (10/2017)
Review: Documenta 14, Kassel (09/2017)
Review: From the Margins, on exhibitions of artists from East-Central Europe (04/2016)
Frieze:
Essay: Who’s the Real Ideologue? On Jordan Peterson’s Communist Art Collection (08/2018)
Review: Geta Bratescu at Hauser and Wirth (03/2018)
Apollo:
Review: “Multiple Realities: Experimental Art in the Eastern Bloc, 1960s-1980s” at the Walker Art Center (02/2024)
Profile: Cindy Sherman: Playing to the Camera (06/2019)
Profile: Cecily Brown: A Feeling for Paint (10/2018)
Opinion: “Is the International Art World Too Elitist?” (06/2018)
The Baffler:
Essay: The Fox News Theory of Art, on the cable TV culture wars (01/2020)
Essay: Culture Worriers, on art at the Cato Institute (07/2019)
Film Review: “Velvet Buzzsaw” (02/2019)
Review: Vile Days: The Village Voice Art Columns 1985-88 by Gary Indiana (01/2019)
The New Republic:
Review: My Life as a Spy: Investigations in a Secret Police File by Katherine Verdery (07/2018)
Review: Dark Side of the Boom: The Excesses of the Art Market in the 21st Century by Georgina Adam (02/2018)
Art Review:
Review: Pat Steir at Lévy Gorvy (12/2017)
Review: Pieter Schoolwerth at Miguel Abreu (09/2017)
Review: Wilhelm Sasnal at Anton Kern (06/2017)
Art News:
Essay: Autocorrect: The Politics of Museum Collection Rehangs (09/2016)
Review: Bad New Days: Art, Criticism, Emergency by Hal Foster (09/2015)
Essay: The Reality TV Novel: On Headless by KD (05/2015)
Jewish Currents:
Essay: The Art of Irreverence: Martha Rosler’s War on Complacency (04/2019)