In part, the new law takes place 180 days from November 30, 2020 and will not be retroactive. More on what the law covers here.

2020 hasn’t been great, but when we’re presented with generous gems we take them. Here’s a new exhibition on Felix Gonzalez-Torres, which coincides with Felix’s birthday, November 26, and the exhibition will unfold over the course of two weeks, with new content made available on Collecteurs’ website throughout the exhibition and shared with millions worldwide. The exhibition also includes two social campaigns that allow for viewers to participate in this exhibition.

From the Collecteurs website:

Collecteurs and the Felix Gonzalez-Torres Family Archive proudly present Félix.

Drawing from pivotal and never-before-seen works and material from the Felix Gonzalez-Torres Family Archive, this digital exhibition takes place on Collecteurs’ website and social media. A conversation with Felix’s sister, Gloria Gonzalez-Torres, is presented to provide unique insight into Felix’s early environment. You’ll also find essays addressing the constructs of private versus public, one of the topics most relevant to the artist’s multidimensional practice.

More information on the exhibition here.

Could 2020 get any more interesting? Still over a month to go so I’m sure there will be a competition for dumbest art move of the year.

The Palm Springs Art Museums has openly stated that they are against exhibiting art that shows nudity. Well, not quite, but they are against showing kitsch that shows nudity, which is to say, they not only think of themselves as the rightful arbiters of what is and isn’t “real” art, they are also meeting the demands of “woke” and cancel culture by agreeing that a sculpture of Marilyn Monroe “objectifies women, is sexually charged and disrespectful.”

Anyone who reads this blog knows quite well that the foundation of art is violence, religion, and…nudity. So, go out and see it, take a selfie, Instagram it. You have three years.

The NY Times’ Robin Pogrebin pens a glowing recap of Mass MoCA director Joe Thompson, and the amount of good he did for the institution, the community, and the art world. I’m curious why she fails to mention that it was Thompson who initiated and strategized the first lawsuit by an art institution against a visual artist, (Christoph Büchel), seeking to exhibit the artist’s work without his permission?

If you need a reminder, here’s Roberta Smith, also of the NY Times, elaborating in 2007 why she thought Mass MoCA had erred: “The museum deserves to be scathed.”

I’m quoted in this Artnet article.

Truth be told, I think it’s an artwork and not afoul of the law.

The Nation’s Barry Schwabsky on why the the National Gallery and three other museums should not “hide the Art of Philip Guston.”

Never mind that [Darren Walker, the head of the Ford Foundation] cannot distinguish between racist imagery and imagery depicting racists. The real tell is that in a statement he said that to mount the exhibition now would have been “tone deaf.” That’s the language of corporate image control. To many of the people who run our museums—not art people but bean counters—art is merely branding for the institution.