Adrian Piper

On the occasion of her MoMA retrospective, six missives to the artist from her peers

By Multiple Authors
Adrian Piper, Everything #2.8. 2003, photocopied photograph on graph paper, sanded with sandpaper, overprinted with inkjet text, 21.6 x 27.9 cm. Private Collection. © Adrian Piper Research Archive Foundation, Berlin

From ‘Grant Wood fever’ to Adrian Piper’s homecoming at MoMA


Adrian Piper, The Probable Trust Registry: The Rules of the Game # 1-3, 2013-2017, Installation and Group Performance: 3 gray roomy walls, 3 round golden counters, golden relief letters, 3 reading consoles, 3 standing aids, computer system, 3 receptionists. Courtesy: State Museums of Berlin, National Gallery / Thomas Bruns; Copyright APRA Foundation Berlin 

New York

31 Mar
22 Jul

The limits of multidisciplinarity: from Adrian Piper to the 10th Berlin Biennale

Ahead of artgèneve, a guide to the best shows to see around town

Photography: Clément Pascal

From major institutional shows to the most-talked restaurants

Reconsidering the ethics and efficacy of ‘strategic essentialism’ via Adrian Piper, ‘We Wanted a Revolution’ and Juliana Huxtable

Adrian Piper, The Probable Trust Registry: The Rules of the Game #1-3, 2013-2017. Courtesy: Staatliche Museen zu Berlin Collection, Nationalgalerie's Friends, Adrian Piper Research Archive Foundation Berlin and APRA Foundation Berlin

Hamburger Bahnhof, Berlin

Donald Judd photographed in 101 Spring Street, New York, 1972. Courtesy: Judd Foundation, New York; photograph; Paul Katz

Are the roles of artist and writer compatible?

The first of three articles exploring art, class and precarity: a range of artists, curators and writers explore how class shapes art-making today

Vernon Ah Kee What is an Aborigine (1999)

Various venues, Sydney, Australia

Thomas Kuhn, 1973

In an ongoing series frieze asks curators, artists and writers to list the books that have influenced them