Whitney Biennial 1993
Mar 4–June 20, 1993
Cover for 1993 Biennial catalogue
The Whitney Biennial 1993 was curated by Thelma Golden, John G. Hanhardt, Lisa Phillips, and Elisabeth Sussman.
View the full exhibition catalogue at the Internet Archive.
Installation Photography
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Gary Simmons, Wall of Eyes (1993). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Allan Sekula, detail of fish Story (Version 4) (1992–93). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Kiki Smith, The Mother (1992–93). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Kevin Wolff, Pursed Fingers (1991); Kevin Wolff, Hole (1991). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Ida Applebroog, Marginalia series (1992); Ida Applebroog, Jack F: Forced to Eat His Own Excrement (1992); Ida Applebroog, Kathy W.: Is Told that If She Tells Mommy Will Get Sick and Die (1992). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). From left to right: Miguel Gandert, La Frontera: A Way to Survive series (1991); Ray Charles, Family Romance (1992–93); Miguel Gandert, Tierra O Muerte series (1988). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Jimmie Durham, I forgot What I Was Going to Say (1992). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Allan Sekula, Loaves & Fishes (version 2), detail of installation (1992). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Zoe Leonard, Untitled (Works in Progress) (1993). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Chris Burden, Fist of Light (1992–93). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). From left to right: Lari Pittman, Untitled #9 (A Decorated Chronology of Insistence & Resignation) (1992–93); Lari Pittman, Untitled #1, (A Decorated Chronology of Insistence and Resignation) (1992). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). From left to right: Robert Gober, Newspapers (1992–93); Lorna Simpson, Hypothetical ? (1992). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Lorna Simpson, Hypothetical? (1992). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). From left to right: Suzanne McClelland, Right (1992); Suzanne McClelland, Right (1992); Suzanne McClelland, Right (1992); Floor: Janine Antoni, Chocolate Gnaw (1992); Janine Antoni, Lard Gnaw (1992). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). From left to right: Francesc Torres, Triptych #29 (Newsweek Series) (1992); Francesc Torres, Triptych #27 (Newsweek Series) (1992); Francesc Torres, Trojan Horse (1992–93). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Franesc Torres, Trojan Horse (1992–93). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). From left to right: Donald Moffet, Gays in the Military series: Nom de Guerre: La Treen (1991); Donald Moffet, Nom de Guerre: Poo Poo Platter (1991); Donald Moffet, Nom de Guerre: Trigger (1991); Donald Moffet, Nom de Guerre: Truffles (1991); Donald Moffet, Target (1993). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Byron Kim, Belly Paintings (1992); Byron Kim, Synecdoche (1991–92). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). From left to right, back wall: Leone & Macdonald (Hillary Leone and Jennifer Macdonald), Sex Studies: I’m Sure This is False. I think It Might be False. I Don’t know. I think this Maybe True, I’m Sure this is True (1993); Leone & Macdonald (Hillary Leone and Jennifer Macdonald), Untitled (Maze) (1993). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). From left to right, back wall: Leone & Macdonald (Hillary Leone and Jennifer Macdonald), Sex Studies: I’m Sure This is False. I think It Might be False. I Don’t know. I think this Maybe True, I’m Sure this is True (1993); Leone & Macdonald (Hillary Leone and Jennifer Macdonald), Untitled (Maze) (1993); Leone & Macdonald (Hillary Leone and Jennifer Macdonald), Sex Studies: More Than Once a Week. Once a Week. 2-3 times a Month, Several Times a Year. Once a Year or Less. Never (1993). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). From left to right: Kiki Smith, Untitled (1992–93); Kiki Smith and David Wojnarowicz, Untitled (1980–92). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Fred Wilson, Re: Reclaiming Egypt (1993). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Fred Wilson, Re: Reclaiming Egypt, detail (1993). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Pepón Osorio, The Scene of the Crime (Whose Crime?) (1993). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Bruce Yonemoto, Norman Yonemoto and Timothy Martin, Land of Projection (1992). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). From left to right: Joe Zucker, Canoe (1993); Jack Pierson, I’m a Lonely Painter (1995). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Renée Greene, Import/Export Funk Office, detail (1992–93). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Mike Kelley, Untitled (Pasolini) (1990–93). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Gary Simmons, Lineup (1992–93). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Glenn Ligon, Notes in the Margin of the “Black Book”, installation and detail (1991–93). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Nan Goldin, installation view photographs (1990–92). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). From left to right: Alison Saar, Skin Deep (1993); Alison Saar, Hi Yella (1991); Alison Saar, Untitled (1991–92). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). From left to right: Sue Williams, The Sweet & Pungent Smell of Success (1993); Sue Williams, Irresistible (1992); Sue Williams, It’s a New Age (1992); Sue Williams, Are Your Pro Porn or Anti-Porn? (1992). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). From left to right: Michael Joaquin Grey and Randolph Huff, (4-3-2-1): ( 1-2-3-4) Syntax (1992); Michael Joaquin Grey and Randolph Huff, Carbon Codex (3rd Generation) (1992); Michael Joaquin Grey and Randolph Huff, Medusa Movement, State 1,2,3 (3D Neutral Network) (1992); Michael Joaquin Grey and Randolph Huff, Jelly Locomotion (Flagella) (1992). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Karen Kilimnik and Jack Pierson, Untitled (1993). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Daniel J. Martinez, Museum Tags: Second Movement (Overture) or Overture con Claque—Overture with Hired Audience Members (1993). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Glenn Ligon, Margin of the Black Book (1991–93). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Janine Antoni, Gnaw: Lipstick Display: Phenylethylamine (1992). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Renée Green, Import/Export Funk Office (1992–93). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). From left to right: Charles Ray, Family Romance (1992–93); Peter Cain, EP 110 (1992); Peter Cain, Pathfinder (1992–93). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Shu Lea Cheang, Those Fluttering Objects of Desire (1992). Photograph by Geoffrey Clements
Installation view of the 1993 Biennial Exhibition (Whitney Museum of American Art, New York, February 24–June 20, 1993). Charles Ray, Fire Truck (1992–93). Photograph by Geoffrey Clements
In the News
“. . . the latest Biennial turns its back on the razzle-dazzle of the 1980’s and faces the harsher realities of the 90’s.” —The New York Times
“The Whitney Biennial has not spontaneously brought about world peace and racial harmony, as it seems hellbent on proving it can do, but it has accomplished one minor diplomatic coup. It has brought various New York critics of usually discordant opinions into rare harmony: at the least, they dislike it.” —The New York Times
“. . . bound to be remembered as the in-your-face Biennial.” —The Washington Post
“This year’s Whitney Biennial had a kind of pleasing integrity, or clarity, to it that it hasn’t had in a long time.” —The Hudson Review
More from this series
Learn more about the Whitney Biennial, the longest-running survey of American art.