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Grand Seiko



Good morning.

This week, we visit New York’s New Museum, where the Chicago-based artist Theaster Gates’s exhibition “Young Lords and Their Traces” is currently on view. Inspired by a recent period of loss in Gates’s life, the show brings together a mix of artworks and artifacts possessing particular material qualities—paper, wood, clay, tar—to explore the idea of museums as sites of memorialization. Ultimately, the show serves as a meditation on the question: Who and what should be remembered, preserved, and revered?

On this week’s episode of Time Sensitive, Andrew speaks with the graphic designer and design critic Michael Bierut, a partner at the firm Pentagram since 1990, about the enduring power of simplicity.


Installation view of “Young Lords and Their Traces” at the New Museum.
(Photo: Dario Lasagni. Courtesy the New Museum)

Theaster Gates’s New Exhibition Poetically Prods the Meaning of a Museum


By Chanice Hughes-Greenberg



What’s the purpose of a museum—and who decides which objects are worthy of value, attention, and care? These two questions, along with decades of inventive and collective artmaking, are at the core of “Young Lords and Their Traces” at the New Museum, the Chicago-based artist Theaster Gates’s first-ever museum survey exhibition to be staged in New York City (on view through February 5, 2023).

Also an urbanist and social activist who flows between making, preserving, and collecting, Gates operates a multifarious, cross-disciplinary practice, moving from archiving and caring for historical collections of images and objects to physical object-making, whether it be ceramics, painting, installation, or sculpture. Some of his works even verge on architecture. In developing the exhibition, New Museum curators Massimiliano Gioni and Gary Carrion-Murayari wanted to explore the intersectionality of Gates’s vast body of work, elevating his singular vision while also considering how, more generally, we think about and use objects in our everyday lives.

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