Reimagining Art Criticism: A Deep Dive into Exhibition Labels
As an art critic in 2024, I made a conscious decision to never let wall labels dictate my opinions on artwork. This resolution stemmed from the aftermath of the Whitney Biennial that year, where critics voiced concerns about the impact of exhibition labels on the overall viewing experience. Jackson Arn from the New Yorker questioned the necessity of wall labels in the exhibition, suggesting that removing them would enhance the show. Travis Diehl of the New York Times found the labels belittling, while Sebastian Smee of the Washington Post felt they were convoluted and alienating.
These critiques made me reflect on the statement by Jerry Saltz, who asserted that the exhibition was not intended for critics like him. This led me to ponder why critics focused on labels if they had more profound insights to offer about the artwork. Little did I know that my perspective would be challenged when I attended the 36th Bienal de SĂŁo Paulo.
The Bienal, curated by a team led by Bonaventure Soh Bejeng Ndikung, showcased a vast array of artworks in a sprawling space. While the exhibition had many commendable aspects, the didactics fell short of expectations. Placards with QR codes and artist information were often misplaced, turning the visitor’s experience into a scavenger hunt. Additionally, lengthy section texts for each chapter overwhelmed viewers with excessive information.
Despite the curators’ intent to foster direct encounters between viewers and artworks, critics like Fabio Cypriano argued that withholding context was a disservice to the audience. The debate on the effectiveness of exhibition labels sparked conversations about accessibility, colonialist implications, and the role of interpretation in art curation.
Examples of labels at the 36th Bienal de SĂŁo Paulo (photo Aruna D’Souza/Hyperallergic)
While some defended the curatorial approach as a form of estrangement that fostered diverse interpretations, others criticized it for hindering communication. The tension between providing information and allowing for open-ended engagement underscored the importance of thoughtful and inclusive exhibition labels.
Left: Introductory text for the 2024 Whitney Biennial (photo Natalie Haddad/Hyperallergic); right: Whitney Biennial wall label for artist P. Staff (photo Aruna D’Souza/Hyperallergic)
Reflecting on the role of exhibition labels, I delved into a conversation with Sara Bodinson, a museum interpretation expert from the Museum of Modern Art. Bodinson highlighted the importance of audience research in crafting informative yet engaging wall texts. Understanding visitors’ preferences and levels of art knowledge guides the creation of concise, accessible labels that enhance rather than overwhelm the viewing experience.
Installation view of Constantina Zavitsanos’s “Call to Post (Violet) (2019/24) and “All the Time” (2019) in the 2024 Whitney Biennial, and accompanying wall label (photos Natalie Haddad/Hyperallergic)
As museums explore innovative approaches to exhibition labels, such as incorporating community voices and diverse perspectives, the conversation around the role of didactics in art curation continues to evolve. The balance between providing essential information and fostering meaningful engagement remains a key consideration for institutions worldwide.
Ultimately, the effectiveness of exhibition labels lies in their ability to bridge the gap between artists, curators, and viewers, offering a pathway for diverse audiences to connect with and appreciate art on their terms. As the art world embraces new modes of interpretation, the significance of thoughtfully crafted wall texts cannot be understated in shaping the art experience for all.
