1968 Annual Exhibition: Contemporary American Sculpture
Dec 17, 1968–Feb 9, 1969
Catalogue cover for the 1968 Annual Exhibition: Contemporary American Sculpture
View the full exhibition catalogue at the Internet Archive.
Artists
- Peter Agostini
- Calvin Albert
- Peter Alexander
- John Anderson
- Stephen Antonakos
- Richard Artschwager
- Jerry Ballaine
- Robert Bart
- Leonard Baskin
- Mary Bauermeister
- Bennett Bean
- John Bennett
- Fletcher Benton
- Tony Berlant
- Ben Berns
- Michael Bigger
- Ronald Bladen
- Varujan Boghosian
- Lee Bontecou
- Louise Bourgeois
- Alexander Calder
- Kenneth Campbell
- John Chamberlain
- Chryssa
- Mike Cooper
- Tony Delap
- Walter De Maria
- Deborah De Moulpied
- José de Rivera
- Mark di Suvero
- Tom Doyle
- Robert Engman
- Peter Erskine
- Herbert Ferber
- Frank Gallo
- William Geis
- Cristos Gianakos
- John Goodyear
- Robert Graham
- Nancy Grossman
- Robert Grosvenor
- Roy Gussow
- Peter Gutkin
- Michael D. Hall
- Duayne Hatchett
- Alex Hay
- Michael Heizer
- Eva Hesse
- Will Horwitt
- Robert A. Howard
- Robert Hudson
- Jim Huntington
- Richard Hunt
- Daniel LaRue Johnson
- Donald Judd
- Craig Kauffman
- Ellsworth Kelly
- William King
- Robert Kinmont
- Lyman Kipp
- Gabriel Kohn
- Joseph Konzal
- Rockne Krebs
- Gary Kuehn
- Gerald Laing
- Leroy Lamis
- Stanley Landsman
- Michael Lekakis
- Joseph Levi
- Les Levine
- Alexander Liberman
- Roy Lichtenstein
- Seymour Lipton
- Jim Love
- Bix Lye
- Sheldon Machlin
- Robert Mallary
- John McCracken
- Ed McGowin
- Walter McNamara
- Clement Meadmore
- James Melchert
- Robert Morris
- Robert Murray
- Louise Nevelson
- Barnett Newman
- Minoru Niizuma
- Claes Oldenburg
- Dennis Oppenheim
- Alfonso Ossorio
- Harold Paris
- Kenneth Price
- Leo Rabkin
- Carlos Ramos
- James Reineking
- Sam Richardson
- Robert Richenburg
- George Rickey
- Larry Rivers
- Henry Rollins
- James Rosati
- Bernard Rosenthal
- Charles Ross
- Theodore Roszak
- Lucas Samaras
- Fred Sandback
- Alan Saret
- Julius Schmidt
- Roy Schnackenberg
- George Segal
- Jason Seley
- William Sellers
- Richard Serra
- Robert Smithson
- Kenneth Snelson
- Sylvia Stone
- Edvins Strautmanis
- George Sugarman
- Wayne Taylor
- Julius Tobias
- Mike Todd
- Ernest Trova
- Anne Truitt
- William Tunberg
- DeWain Valentine
- Richard Van Buren
- Frank Lincoln Viner
- Ruth Vollmer
- David von Schlegell
- David Weinrib
- Tom Wesselmann
- H.C. Westermann
- John Willenbecher
- Franklin Williams
- Christopher Wilmarth
- James Wines
- Gary Wojcik
Installation Photography
Installation view of the 1968 Annual Exhibition: Contemporary American Sculpture (Whitney Museum of American Art, New York, December 17, 1968–January 19, 1969). From left to right: George Sugarman, Square Spiral; Christopher Wilmarth; Richard Artschwager, 100 Locations (Blip) (appear on ceiling and window ledge). Photograph by Geoffrey Clements
Installation view of the 1968 Annual Exhibition: Contemporary American Sculpture (Whitney Museum of American Art, New York, December 17, 1968–January 19, 1969). From left to right: Alexander Calder, Four at Forty Five Degrees; George Sugarman, Square Spiral; Eva Hesse, Sans; Richard Artschwager, 100 Locations (Blip). Photograph by Geoffrey Clements
Installation view of the 1968 Annual Exhibition: Contemporary American Sculpture (Whitney Museum of American Art, New York, December 17, 1968–January 19, 1969). From left to right: Bernard Rosenthal, Odyssey; Richard Artschwager, 100 Locations (Blip); Robert Howard, 1–68; Duane Hatchett. Photograph by Geoffrey Clements
Installation view of the 1968 Annual Exhibition: Contemporary American Sculpture (Whitney Museum of American Art, New York, December 17, 1968–January 19, 1969). Photograph by Geoffrey Clements
In the News
“Confronted with an exhibition of this sort—so eager to be up-to-date, yet so concerned to be ‘fair’ to a wide variety of esthetic creeds—one can do little more than point out its anthological character.” —The New York Times
“. . . even though its organizers have shifted the burden of the exhibition to focus on new developments in minimal, monumental, and outdoor sculpture, they are obliged to blunt the effect of this focus through the inclusion of many other kinds of sculpture which inevitably suffer by comparisons of scale and ambition.” —The New York Times
More from this series
Learn more about the Whitney Biennial, the longest-running survey of American art.