Whitney Biennial 2000
Mar 23–June 4, 2000
Artists
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Dennis Adams
28 works in the collection
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Doug Aitken
7 works in the collection
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Ghada Amer
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Lutz Bacher
1 work in the collection
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Sadie Benning
1 work in the collection
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Linda Besemer
2 works in the collection
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Dawoud Bey
14 works in the collection
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Jeremy Blake
5 works in the collection
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Chakaia Booker
1 work in the collection
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Ingrid Calame
2 works in the collection
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Luis Camnitzer
1 work in the collection
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John Coplans
30 works in the collection
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Petah Coyne
4 works in the collection
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John Currin
5 works in the collection
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E.V. Day
12 works in the collection
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Thornton Dial
3 works in the collection
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Kim Dingle
1 work in the collection
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Tara Donovan
2 works in the collection
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Nathaniel Dorsky
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James Drake
11 works in the collection
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Vernon Fisher
3 works in the collection
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Suzan Frecon
6 works in the collection
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Brian Fridge
1 work in the collection
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Dara Friedman
1 work in the collection
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Joe Gibbons
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Robert Gober
49 works in the collection
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Kojo Griffin
1 work in the collection
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Joseph Grigely
1 work in the collection
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Hans Haacke
1 work in the collection
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Trenton Doyle Hancock
28 works in the collection
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Joseph Havel
3 works in the collection
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Salomón Huerta
1 work in the collection
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Arthur Jafa
2 works in the collection
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Michael Joo
1 work in the collection
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Silvia Kolbowski
2 works in the collection
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Louise Lawler
11 works in the collection
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Annette Lemieux
14 works in the collection
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Sharon Lockhart
2 works in the collection
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Iñigo Manglano-Ovalle
2 works in the collection
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Joseph Marioni
2 works in the collection
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Josiah McElheny
1 work in the collection
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Vik Muniz
19 works in the collection
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Shirin Neshat
6 works in the collection
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Nic Nicosia
1 work in the collection
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Paul Pfeiffer
6 works in the collection
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Carl Pope
1 work in the collection
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Walid Raad
3 works in the collection
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Laurie Reid
1 work in the collection
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Kay Rosen
4 works in the collection
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Michal Rovner
7 works in the collection
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John F. Simon Jr.
3 works in the collection
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Al Souza
2 works in the collection
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Sarah Sze
10 works in the collection
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Chris Verene
4 works in the collection
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Lisa Yuskavage
12 works in the collection
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Mark Amerika
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Craig Baldwin
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Lew Baldwin
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Rebecca Baron
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Vanessa Beecroft
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Rolf Belgum
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Ben Benjamin
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Robin Bernat
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M. W. Burns
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Cai Guo-Qiang
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Rina Banerjee
1 work in the collection
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Kurt Kauper
1 work in the collection
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William De Lottie
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Roman De Salvo
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Jem Cohen
1 work in the collection
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Anthony Discenza
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Theresa Duncan
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Leandro Erlich
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Fakeshop
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Jill Godmilow
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Ken Goldberg
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Harmony Korine
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Ruth Leitman
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Les LeVeque
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Anne Makepeace
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Franco Mondini-Ruiz
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Errol Morris
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Mandy Morrison
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Marcos Ramírez Erre
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Jennifer Reeder
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Katherine Sherwood
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Darcy Steinke
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Elisabeth Subrin
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Chris Sullivan
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Tran, T. Kim-Trang
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Richard Tuttle
47 works in the collection
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Ayanna U’Dongo
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Annette Weintraub
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Yvonne Welbon
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Krzysztof Wodiczko
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Yukinori Yanagi
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®™ark
Installation Photography

Installation view of the 2000 Biennial Exhibition (Whitney Museum of American Art, New York, March 23–June 4, 2000). From left to right: Linda Besemer; Joseph Havel, Curtains (1999); Ghada Amer, Untitled (John Rose) (1999); Ghada Amer, Untitled (Orange) (1998); Rina Banerjee, Infectious Migrations (1999). Photograph by Jerry L. Thompson


Installation view of the 2000 Biennial Exhibition (Whitney Museum of American Art, New York, March 23–June 4, 2000). From left to right: Richard Tuttle, “Rough Edges, 1” (1999); Richard Tuttle, “Rough Edges, 2” (1999); Richard Tuttle, “Rough Edges, 3” (1999); Richard Tuttle, “Rough Edges, 4” (1999); Richard Tuttle, “Rough Edges, 5” (1999); Joseph Havel, Table Cloth (1999); Joseph Havel, Curtains (1999); Ingrid Calame, b-b-b,rr-gR-UF!, b-b-b (1999); Ghada Amer, Untitled (John Rose) (1999). Photograph by Jerry L. Thompson


Installation view of the 2000 Biennial Exhibition (Whitney Museum of American Art, New York, March 23–June 4, 2000). From left to right: Vernon Fisher, Taza from Tarzan series (1999); Joseph Havel, Drape (1999); Katherine Sherwood, Facility of Speech (1999); Katherine Sherwood, Seeds of Thought (1999). Photograph by Jerry L. Thompson


Installation view of the 2000 Biennial Exhibition (Whitney Museum of American Art, New York, March 23–June 4, 2000). From left to right: Sarah Sze, Strange Atractor (2000); Linda Besemer, Zip Fold #1 (1999); Joseph Marioni, Red Painting (1999); Joseph Marioni, White Painting (1999); Joseph Marioni, Blue Painting (1997); Linda Besemer. Photograph by Jerry L. Thompson


Installation view of the 2000 Biennial Exhibition (Whitney Museum of American Art, New York, March 23–June 4, 2000). From left to right: Chakaia Booker, It’s So Hard to be Green (2000); John Currin, Homemade Pasta (1999); John Currin, Old Fence (1999); John Currin, Stamford After Brunch. Photograph by Jerry L. Thompson


Installation view of the 2000 Biennial Exhibition (Whitney Museum of American Art, New York, March 23–June 4, 2000). From left to right: Josiah McElheny, An Historical Anecdote About Fashion (1999); Michael Joo, Visible (1999); Victor Muniz, Raft of the Medusa (1999). Photograph by Jerry L. Thompson


Installation view of the 2000 Biennial Exhibition (Whitney Museum of American Art, New York, March 23–June 4, 2000). From left to right: Louise Lawler, Pink and Yellow and Black I (Red Disaster), from the series On a Wall, On a Cow, In a Book, In the Mail (1999); Krysztof Wodiczko, Agis: Equipment for a City of Strangers (1999); Al Souza, The Peaceful Kingdom (1998). Photograph by Jerry L. Thompson


Installation view of the 2000 Biennial Exhibition (Whitney Museum of American Art, New York, March 23–June 4, 2000). From left to right: Salomon Huerta; center: Kim Dingle, 63MG 4ME (1999); Chris Verene, selections from Camera Club series (1999–2000); Lisa Yuskavage, True Blonde at Home (1999); Lisa Yuskavage, Day (2000); Lisa Yuskavage, Night (2000). Photograph by Jerry L. Thompson


Installation view of the 2000 Biennial Exhibition (Whitney Museum of American Art, New York, March 23–June 4, 2000). From left to right: Yukinoro Yanagi, Study for American Art—192 One Dollar Bills (2000); Michael Joo, Visible (1999); John Currin, Stamford After Brunch. Photograph by Jerry L. Thompson

In the News
“. . . a show without a theme, no strong point of view, not much sex, no dead pigs, no fecal matter or rotting eggs or mannequins with a penis for a nose. Sounds boring, no? Well, it is. The show goes out of its way to be ecumenical, independent, geographically diverse, representative of all media, including the Internet, and different from what the New York power brokers would do.” —The New York Times
“The last thing you expect from a gathering of this kind—a summa of contemporary art over the past two years—is flirtatiousness. Yet that’s what you get. [. . .] this Biennial is coy and brazen at once. [. . .] it is self-regarding, self-revealing, and self-desiring without ever seeming narcissistic or self-centered.” —The New York Times
“Art of the 20th century dissolved boundaries, bringing a world of cross-disciplinary, multimedia, theatrical, electronic, cybernetic and other breakaway modes of expression. This world is instructively represented right now by the Whitney Biennial.” —The New York Times
“For the first time, the film and video component of the Whitney Biennial has been placed under the stewardship of the same committee that selects the main body of the exhibition rather than being left to specialists in the field. A result is a more open, more varied yet in some ways more obvious selection of entries than before.” —The New York Times
“The Whitney Museum of American Art’s Biennial is an exhibition of new and often cutting-edge American art. This year, one work may be a little too cutting.” —The New York Times
“Timeless is exactly what this show is not. It’s got lots of installations [. . .]. It’s got lots and lots of Web art [. . .]. With its too-big glossy photographs, its anti-Giuliani screed, and its many, many videos, the 2000 Biennial is as voguish as can be.” —The Washington Post
“The Whitney Biennial 2000 was chosen by six curators from different parts of the U.S., which probably explains why one of their main concerns was to shift emphasis away from New York-based artists. Another curatorial emphasis was to represent artists at different stages in their careers.” —Circa
“The 2000 Whitney Biennial was about the here-and-now. This often-contentious survey of recent work was a more tepid affair than many of the last two decades [. . .]. It was possible to look at the art without the usual sense of outrage, spending less time on the inevitable questions [. . .] and actually taking note of a few artists whose progress one would want to follow.” —The Hudson Review
“. . . computer art has finally come of age. The New York art community has embraced it by including it in this year’s Whitney Biennial.” —Leonardo
More from this series
Learn more about the Whitney Biennial, the longest-running survey of American art.