Whitney Biennial 1987

Apr 10–July 5, 1987

The Whitney Biennial 1987 was curated by Richard Armstrong, John G. Hanhardt, Richard Marshall, and Lisa Phillips.

View the full exhibition catalogue at the Internet Archive.

Artists

Installation Photography

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: R.M. Fischer, Snap, Crackle, Pop (1986); R.M. Fischer, Northstar (1986); Robert Lobe, Facial Structure (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: Joseph Kosuth, Zero & Not (1986); Willem de Kooning, Untitled XVII (1986); Roberto Juarez, Off-Shore Drilling (1986); Robert Helm, Night Windows (1986); Louise Bourgeois, Nature Study (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: Joseph Kosuth, Zero & Not (1986); Lari Pittman, Out of the Frost (1986); Alan Saret, Chosen Women; Ed Ruscha, Name, Address, Phone (1986); Louise Bourgeois, Nature Study (1986); Willem de Kooning, Untitled XII (1986); Joseph Kosuth, walls: Zero & Not (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: Robert Greene, private Thoughts (1986); Robert Greene, The Wedding (1985); Robert Greene, Another Always (1986); Alan Saret, Chosen Women; Alan Saret, Alchemicomania. Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: Richard Artschwager, Two Diners (1987); Richard Artschwager, The Organ of Cause and Effect III (1986); David McDermott & Peter McGough, Rub-a-Dub . . . Three Boys in One Tub (1937, 1986); David McDermott & Peter McGough, The Big Show (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: Richard Artschwager, Organ of Cause and Effect, III; Jeff Koons, Two Ball 50-50 Tank (1985); Jeff Koons, One Ball Total Equilibrium Tank (1985). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). Jeff Koons, Rabbit (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: Judy Pfaff, N.Y.C./B.O.E. (1987); Jeff Koons, Rabbit (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). Judy Pfaff, N.Y.C/B.O.E. (1987). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: Julian Schnabel, Virtue (1986); Judy Pfaff, N.Y.C./B.O.E. (1987); Donald Sultan, Veracruz, Nov.18, 1986 (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: Judy Pfaff, N.Y.C./B.O.E. (1987); Robert Lobe, Killer Hill, C.W. (1985); Peter Halley, Three Sectors (1986); Peter Halley, Two Cells with Circulating Conduit (1985); Peter Halley, Asphaltum (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: Louise Bourgeois, Nature Study (1986); Louise Bourgeois, Legs (1986); Alan Saret; Lari Pittman, An American Place (1986); Alan Saret. Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: Donald Sultan, Detroit Oct. 31, 1986 (1986); John Chamberlain, First Dance of the Trees (1986); Julian Schnabel, Mimi (1986); John Chamberlain, Iceberg (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: Ed Ruscha, The Uncertain Trail (1986); Neil Jenney, Venus from North America (1979/1987); Neil Jenney, Atmosphere (1975–85); Philip Taffe, Yellow, Grey (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: George Condo, Black Insect (1986); George Condo, Dancing to Miles (1985–86); George Condo, Girl with Purple Dress (1986); center left: Louise Bourgeois, Nature Study (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). Joseph Kosuth, Word, Sentence, Paragraph (z+n) (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). Weinbren & Friedman, The Erl King (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). Sol Le Witt, Tilted Forms (1987). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: Peter Halley, Three Sectors (1986); Peter Halley, Two Cells with Circulating Conduit (1985); Peter Halley, Blue Cell with Triple Conduit (1986); center: R.M. Fischer, Snap, Crackle, Pop (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: Tina Barney, The Reception (1985); Tina Barney, The Card Party (1986); Bruce Weber, Studio Wall (1987); Nancy Dwyer, Coming Up Next (1986); Nancy Dwyer, Your Name (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: Roberto Juarez, Apple Peppers (1986); Roberto Juarez, Off Shore Drilling (1986); Stephen Mueller, Rushing Up Portofino (1986); Phillip Taaffe, Yellow Grey (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: David Bates, Kingfisher (1985); David Bates, Catfish Moon (1986); David Bates, The Red Moon (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: Barbara Kruger, Untitled (Worth Every Penny) (1987); STARN TWINS, Double Stark Portrait in Swirl (1985–86); Mark Morrisroe (1985–86). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). Bruce Nauman, The Krefeld Piece: Hangman (1985). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: Louise Fishman, S. Muggler’s Notch (1986); Louise Fishman, Refiner’s Fire (1985); Philip Taaffe, (Red, White) (1986); George Condo, Black Insect (1986); Louise Bourgeois, Nature Study (1986); Lari Pittman, Reason to Rebuild (1986); Alan Saret, Alchemicomania (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: Philip Taaffe, Quad Cinema (1986); George Condo, Dancing to Miles (1985–86); Richard Prince, Untitled(Joke) (1986); Richard Prince, Live Free or Die (1986); Richard Prince, Tell Me Everything (1986); Lari Pittman, Reason to Rebuild; Alan Saret, Alchemicomania (1986); Alan Saret, Chosen Women (1986). Photograph by Geoffrey Clements

Installation view of the 1987 Biennial Exhibition (Whitney Museum of American Art, New York, March 31–July 5, 1987). From left to right: Ishar Patkin, The Black Painting: Dawn (1985–86); Ishar Patkin, The Black Paintings: Night (1985–86). Photograph by Geoffrey Clements

In the News

“The biennial this year seems certain [. . .] to be somewhat quieter and more contemplative in tone than the 1985 exhibition [. . .]. This year, by contrast, there is [. . .] far more painting and sculpture that strives without gimmicks for a strong esthetic impact.” —The New York Times

“Stung by savage criticism of the last Biennial, and convinced that contemporary art is in a very different place than it was two years ago, the Whitney has assembled a very different show. It is self-consciously serious, often illuminating, predictably uneven and unusually tame. It is also indispensable.” —The New York Times

“. . . the Whitney Biennial, again this year as in years past, promiscuously displays what is thought to be fashionable.” —The Burlington Magazine

“No matter what your taste in art, it will drive you up the wall.” —The Washington Post

More from this series

Learn more about the Whitney Biennial, the longest-running survey of American art.