Whitney Biennial 1989
Apr 18–July 16, 1989
Cover of 1989 Biennial catalogue
The Whitney Biennial 1989 was curated by Richard Armstrong, John G. Hanhardt, Richard Marshall, and Lisa Phillips.
View the full exhibition catalogue at the Internet Archive.
Installation Photography
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: Andrew Spence, Bulletin Board (1988–89); Joel Shapiro, Untitled (1988); Ray Smith, Lucha Politica (1988); Andrew Spence, Swivel Chairs (1988); Sherrie Levine; Allan McCollum. Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: Andrew Spence, Swivel Chairs (1988); Sherrie Levine; Allan McCollum; Joel Shapiro, Untitled (1988); Joel Shapiro, Untitled (1987–88). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: Donald Baechler, Bay of Bengal (Third Version) (1987–88); Ray Smith, Lucha Politica (1988); Andrew Spence, Swivel Chairs (1988); Ray Smith, Maricruz Moderna (1988); center: Meg Webster, Earth Stage (1989). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: Deborah Oropallo, Water Safety (1989); Deborah Oropallo, Wire Walker (1988); Deborah Oropallo, War Words (1989); Deborah Oropallo, Tree, Violin, Violinist (1988); Michele Zalopany, Home Triumphant (1988); Jeff Koons, Pink Panther (1988); Mary Heilman, Tic Tac Toe (1988). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: Jeff Koons, Stacked (1988–89); Michele Zalopany, Home Triumphant (1988); Michele Zalopany, Bequest (1987); center: Jeff Koons, Pink Panther (1988). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: Christopher Wool, Untitled(P79) (1988); Christopher Wool, Untitled (P84) (1988); Christopher Wool, Apocalypse (1988); Mary Heilmann, Sapphire (1987); on sculpture pedestals: Jeff Koons, Pink Panther (1988); Jeff Koons, St. John Baptist (1988). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: Kate Ericson and Mel Ziegler, Individual Works (1987–88); Ashley Bickerton, Ground Piece to Be Dragged into the Highlands of Irian_Jaya and Left to Rot (Wild Gene Pool) (1988); Landscape #4 (Fragmented Biosphere) (1988); Tormented Self-Portrait (Susie at Arles), #2 (1988). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: Kate Ericson and Mel Ziegler, America Starts Here (1988); Ashley Bickerton, Ground Piece to Be Dragged into the Highlands of Irian_Jaya and Left to Rot (Wild Gene Pool) (1988). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: Tom Wudl, Veil IV (1986–87); Martin Puryear, Pride’s Cross (1988); Martin Puryear, Verge (1987); David Reed, No. 261 (1987–88); David Reed, No. 252 (1987). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: David Reed, No. 22 (1987); Ross Bleckner, Deathlessness (1987); Saint Clair Cemin, Navel Rhetoric (1987); Ross Bleckner, Fallen Summer (1988); Ross Bleckner, Examined Life (1988); Saint Clair Cemin, Zeno (1988). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: Ray Smith, El Plagio (1989); Martha Diamond, Three Lights (1988); Martha Diamond, Red Light (1988); floor: Meg Webster, Earth Stage (1989). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: Brice Marden, Diagram Couplet (#2) (1988–89); Brice Marden, Diagram Couplet (#3) (1988–89); Cary Smith, I (1989); Saint Clair Cemin, Zeno (1988); Martin Puryear; Ross Bleckner, Deathlessness (1987); St. Clair Cemin, Navel Rhetoric (1987). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: Liz Larner, Lash Mat (1989); Robert Gober, X Playpen (1987); Mark Innerst; Robert Gober, Unfolding Door (1989); Robert Gober, Untitled (1988). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: Joan Nelson, Untitled (180) (1988); Joan Nelson, Untitled (230) (1989); Joan Nelson, Untitled (162) (1987); Joan Nelson, Untitled (180) (1988); Joan Nelson, Untitled (220) (1988); Liz Larner, Rubber Divider (1988); Liz Larner, Used to Do the Job (1987); Liz Larner, Gold, Collagen, Soluble Fluorescent Dye (1988); Liz Larner, Lash Matt; sculpture on the floor: Robert Gober, Untitled (1988); Robert Gober, X Playpen (1987). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: Chris MacDonald, Work Truck Variation (1989); Donald Bachler, Priceless, Wordless, Loveless (1987–88). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: Mike Kelley, More Love Hours Than Can Ever Be Repaid (1987); Mike Kelley, The Wages of Sin (1987); Mike Kelley, Plush Kundalini and Chakra Set (1987); Mike Kelley, Hierarchical Figure (1989). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). Chris Burden, All the Submarines of the USA (1987). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: Michael Byron, Family (1989); Michael Byron, Big Japanese Industrialist #2 (1989); Michael Byron, Walpurgisnacht (1987–88). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: Mark Innerst, Pocket Watch (1988); Mark Innerst, The Williamsburg Bridge (1988); Mark Innerst, Distant View (1988); April Gornick, Water Spout (1989); April Gornick, Cloud Burst (1988); center: Erik Levine, Transport (1987); Erik Levine, Untitled (1988). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). From left to right: Cindy Bernard; Allan McCollum, Individual Works (1987–88); above: Sherrie Levine, Untitled (Copper Knots:1) (1988); Sherrie Levine, Untitled (Mr. Austridge:1) (1989); Sherrie Levine, Untitled (Copper Knots: 3) (1989); Sherrie Levine, Untitled (Mr.Ausgtridge:2) (1989); Sherrie Levine, Untitled (Copper Knots:4) (1989); Sherrie Levine, Untitled (Mr. Austridge:3) (1989); Sherrie Levine, Untitled (Copper Knots:5) (1989). Photograph by Geoffrey Clements
Installation view of the 1989 Biennial Exhibition (Whitney Museum of American Art, New York, April 18–July 16, 1989). Francesco Torres, Oikonomos (1989). Photograph by Geoffrey Clements
In the News
“This year’s Biennial is a perplexing, frustrating affair, alternately admirable and faint-hearted.” —The New York Times
“After years as the show New Yorkers love to hate, the Whitney Biennial has finally got it right.” —The Washington Post
More from this series
Learn more about the Whitney Biennial, the longest-running survey of American art.