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As we annular out the decade and attending adjoin 2020, Hyperallergic’s beat agents took into application the decade-defining art shows that acquire shaped the accomplished 10 years for their scope, impact, and talent. While not an attack to be a absolute representation of the absurd art that has appear out of the 2010s, this account is a absorption of the Hyperallergic team’s best admired exhibitions; the assignment that aggressive us and those about us to abide to advance our acreage forward.

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Without question, these accomplished years saw the incremental addition of the art world, as artists of color, anomalous and auto artists, and added marginalized creatives fabricated after-effects at aberrant ante — advocating for themselves and their aeon and accusation aback adjoin the traditionalist hegemonic powers-that-be in the field. It was a decade apparent by articulate activism arduous the building amplitude — from boycotts of the Guggenheim Abu Dhabi over casual workers’ rights, to Nan Goldin’s PAIN Sackler, to Warren Kanders‘s abandonment as carnality armchair of the Whitney Building afterwards months of artisan and activist-led protests.

After the New Year, we at Hyperallergic will be cerebration about the all-important means to admission our all-embracing presence, abnormally in Africa, Asia, and South America. This October, our advertisement additionally acclaimed its 10th anniversary. From our apprehensive ancestry to our agitative abutting in the abutting decade, we will abide our armpit as a belvedere for serious, playful, and abolitionist cerebration about art in the world.

We absitively to accord the top atom to a amount who has not abandoned afflicted a accomplished bearing of curators (his Johannesburg Biennial in 1997-98 and his Documenta in 2002 helped authorize his acceptability and abide to bell today), but addition who connected to advance the envelope until his adverse afterlife this year at the age of 55.

In the aftermost decade abandoned his Postwar: Art Amid the Pacific and the Atlantic, 1945–1965 activity (with Katy Siegel and Ulrich Wilmes, amid others) and his 2015 Venice Biennale exhibition, All the World’s Futures, were two standouts that helped appearance the all-around chat about art. An adroit observer, anxious curator, and bookish accident taker, Enwezor’s assignment has helped to aggrandize the acreage of abreast art alfresco the borders of acceptable Western art history. In abounding instances, he was the aboriginal African curator, including actuality the aboriginal African-born babysitter of the Venice Biennale’s capital exhibition afterwards 120 years — unbelievable, right? He additionally alien a advanced ambit of artists (particularly from Africa) to all-embracing audiences, and in the action he contributed to the affluence of the art arena in every bend of the world.

Enwezor is a atypical amount who will appear to ascertain abreast art of the aftermost few decades. And in case you anticipate his afterlife will stop his work, again you’d be wrong. In two years bodies will be able to adore his contributions to the 2021 Sharjah Biennial, which he is clearly curating (along with Sharjah Art Foundation Director Hoor Al Qasimi and others). Art in the 2010s will be remembered partly for the assignment of this Nigeria-born aptitude who not abandoned responded to the alteration realities of art today, but took ascendancy and helped to ascertain a administration that reflected the all-around absoluteness we all see in the apple about us. —Hrag Vartanian 

October 12, 2018–April 23, 2019 

Curated by Tracey Bashkoff, with David Horowitz

Following her graduation from art academy in 1887, Hilma af Klint became an accustomed Swedish painter who was acutely invested in spiritualism and theosophy. Amid 1906 and 1915, she produced a alternation of abstractions, both biomorphic and geometric, to accurate these beliefs. In befitting with her wishes, this assignment was not to be apparent until 20 years afterwards her death. It was on appearance for the aboriginal time in the United States at the Guggenheim in 2018–2019 area her canvasses were radiantly apparent in the museum’s acclaimed circling in a acutely melancholia appearance curated by Tracey Bashkoff, Director of Collections and Senior Curator, and David Horowitz, Curatorial Assistant. Paintings for the Abutting brought aberrant numbers of visitors to the Guggenheim, breaking all antecedent appearance records, and authoritative this mystic, woman painter from the aboriginal 20th aeon one of the best accepted artists of the decade. —Laura Raicovich 

Co-curated by Dieter Roelstraete, Helen Molesworth, and Ian Alteveer, with the abetment of Karsten Lund and Abigail Winograd

Before seeing Kerry James Marshall: Mastry, I had never afore spent so abundant time acknowledgment over audible paintings: bubbler them in, from up abutting and afar, activity avaricious to break and acquire them in all of their abundant glory. The exhibition accomplished me how to absolutely attending at art. Mastry is foregrounded by Marshall’s agitation as a adolescent art amateur at the overwhelmingly white assize of art history. “When you allocution about the absence of atramentous amount representation in the history of art, you can allocution about it as an exclusion, in which case there’s a affectionate of allegation of history for declining to be amenable for article it should acquire been,” Marshall told the New York Times in an account afterward the aboriginal of three legs of the retrospective. He concluded, “I don’t acquire that affectionate of mission. I don’t acquire that indictment. My absorption in actuality a allotment of it is actuality an amplification of it, not a appraisal of it.” Determined to achieve this expansion, he studied in languages of art history — its expectations and constructions — and he baffled them and fabricated them his own. (The admission of one of his teachers, Charles White, is appropriately present.)

Marshall calls atramentous “non-negotiable” and “unequivocal” in his works. His portraits band shades of black, one on top of the other, to actualize an absurd abyss in the faces and limbs of his subjects. There are attenuate differences amid the carbon, mars, and ivory blacks he utilizes, sometimes bond them with added hues to actualize a baby palette from which Marshall has abstruse to accomplish absolute depths.

Marshall’s scenes of mural-like accommodation are arranged with Easter eggs: the best you stare, the added you find. I begin myself best alert by “De Style” (1993) — a massive arena of a Atramentous barbershop — and its feminine 2013 counterpart, “School of Beauty, Academy of Culture.” In the latter, which is corrective in the colors of the Pan-African flag: green, red, and black, you see a affiche for Chris Ofili’s 2010 exhibition at Tate blind on the aforementioned bank as a Dark and Admirable relaxer poster. In the mirror, you see addition demography a beam photo (calling to apperception Diego Velasquez’s admittance of the cocky in the active arena of “Las Meninas“). There is anecdotal aural narrative; from art actual allusions to references to pop adeptness and Blackness. Marshall’s admission back the attendant has been massive in the accessible imagination. —Jasmine Weber

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September 2017–January 28, 2018 

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This was the third abundance of the Getty-funded Pacific Standard Time initiative, which supports exhibitions and contest beyond Southern California about a accurate theme. In 2017, this affair was Latin American and Latinx art — a sprawling category, but one that makes a lot of sense; in the 2010 census, about bisected the citizenry of Los Angeles abandoned articular as Latino or Latin American. There were added than 75 exhibitions at PST: LA / LA, from abandoned shows to accumulation exhibitions. Some of our favorites included Home — So Different, So Appealing at the Los Angeles County Building of Art (LACMA) (curated by Chon Noriega, Mari Carmen Ramírez, and Pilar Tompkins Rivas), Abolitionist Women: Latin American Art, 1960–1985 at the Hammer Building (curated by Cecilia Fajardo-Hill and Andrea Giunta), La Raza at the Autry Building of the American West (curated by Scott and Luis C. Garza), and Anna Maria Maiolino at the Building of Abreast Art (curated by Helen Molesworth). The striking, generally alive projects that emerged from PST: LA/LA additionally accent an adverse truth: they were attenuate displays in a arena area there aren’t abundant institutions acknowledging and researching Latin American and Latinx art. —Elisa Wouk Almino 

Various yearsVarious curators

The admission of the Sharjah Biennials is adamantine to downplay. For over a decade the art exhibition has been been affable an all-embracing core of aptitude and allowance to bureau important art works of all types — for instance, did you apperceive they helped armamentarium some contempo videos by John Akomfrah?

Kudos to Hoor Al Qasimi for shepherding the adeptness of the biennial in an absolute ambiance that isn’t commonly accessible to some of the best arguable abreast art, but she did it. The phenomenon of the Sharjah Biennial has been its adeptness to assignment adjoin the allowance and abutment new scholarship on art in the region, the admission of which will be acquainted for ancestors to come. They’ve been able to allure some of the best curators in the world, and they’ve helped to anatomy the conversations that admission abreast art today. The aftermost decade is back the biennial has absolutely appear into its own as a powerhouse. Curators accommodate Suzanne Cotter and Rasha Salti (2011), Yuko Hasegawa (2013), Eungie Joo (2015), Christine Tohme (2017), and again Zoe Butt, Omar Kholeif, and Claire Tancons this year. Rumors are the political course may be alteration in the UAE and throughout the Gulf, so hopefully the Sharjah Art Foundation will be able to ensure that its flagship biennial will abide to excel afterwards alfresco interference. —HV

May 4–August 7, 2011

Organized by Andrew Bolton and the Costume Institute

Presented aloof over a year afterwards the active designer’s death, Savage Beauty did the bifold assignment of showcasing bold, amazing designs that helped adapted the haute couture mural and advantageous accolade to a abounding artisan whose agog compassionate of texture, shape, identity, politics, and history positioned him as a abstracted who was light-years advanced of his time. Known as a bit of a bad boy about the London scene, McQueen rose from apprehensive beginnings; his ancestor was a auto driver, and he aboriginal entered the apparel apple as a dressmaking amateur afore activity on to acquire his master’s at the admired Axial Saint Martins. In 1997, at aloof 27 years old, he was appointed Chief Artisan of bequest appearance abode Givenchy, appropriate about the aforementioned time that the perennially arguable (and now ashamed for his racist remarks) John Galliano took over Dior; in their alongside roles, the two British designers were accustomed with reinvigorating what was again perceived to be a calm aeon amid French appearance houses. Abundant like abounding Costume Institute exhibitions, the presentation of McQueen’s bulk in the galleries was impeccably researched and amazing in scope, including almost 100 apparel and accessories fatigued from the McQueen Archive, clandestine collections, and alike the Givenchy Archive to blueprint a absolute appearance of his career. The ball and comedy of McQueen’s legendary, and occasionally audacious designs — from his administration of models in such a way that commented on the concrete and brainy corruption of women in the industry, to his abominable “bumsters” and “highland rape” collection — was displayed in optimal fashion. Darkened, badly spotlit, and abounding with melancholia staging, Savage Beauty did the praise-worthy assignment of recreating the beaming eyes of a admired artisan who larboard us too soon. —Dessane Lopez Cassell 

Curated by Mark Godfrey and Zoe Whitley at Tate Modern. The Crystal Bridges presentation is curated by Lauren Haynes; the Brooklyn Building presentation is curated by Ashley James; the Broad presentation is curated by Sarah Loyer; the de Adolescent presentation is curated by Timothy Anglin Burgard and Lauren Palmor.

Soul of a Nation alien a basic history of Atramentous artists and their contributions to a accessible admirers at an aberrant calibration — its beyond and admeasurement is awe-inducing. The two decades that ascertain this “soul of a nation” — amid 1963 and 1983 — are anchored in a audible era: a about-face out of Jim Crow into the Civil Rights Movement. It’s 1983 blow can be accepted through a new about-face in the mechanisms of American racism: accumulation incarceration and the able epidemic. The era additionally apparent a about-face in the art apple adjoin multiculturalism and post-blackness, while hip-hop began to booty the reigns in accepted culture.

The galleries of Soul of a Nation are afar by cities and collectives, including New York’s Circling and Kamoinge, and Chicago’s Africobra. At the Los Angeles abundance of the exhibition, Californian artists like John Outterbridge and Noah Purifoy get a far added arresting feature, while Betye Saar’s mystical works get their own, blurred room. Overall, Soul of a Nation brought calm a arresting and assorted accumulating of artworks — from Barkley Hendricks and Faith Ringgold, to the abstruse works of Sam Gilliam, Frank Bowling, and Alma Thomas, amid others.

Soul of a Nation projected a bearing of artists abutting their 70s, 80s, and 90s into the all-embracing spotlight. The exhibition sparked a all-important chat about the art apple and its exclusion of this abundance of aptitude from abiding collections and exhibitions. —JW

October 30, 2010–February 13, 2011

Curated by Jonathan Katz and David C. Ward

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It’s adamantine to acquire that the Hide/Seek: Difference and Desire in American Delineation altercation was abandoned 10 years ago, and little did we apperceive it would be a augury of things to appear as a new appearance of the US adeptness wars was afire during the Obama admiral (partly driven, it appears, by the actuality that some bodies aloof couldn’t handle the actuality that the admiral was Black). The exhibition was an important attending at the role LGBTQ artists acquire placed in the history of portraiture, and the assignment that afire the altercation was David Wojnarowicz’s “A Fire In My Belly” video, which includes a abrupt blow of all-overs ample over a Jesus amount on a cross. Afterwards Reps. John Boehner (R-Ohio) and Eric Cantor (R-Va.) aloft alarms over the work, the Civic Portrait Gallery removed the Wojnarowicz piece. The exhibition afflicted abounding exhibitions that followed in the decade, and anchored co-curators Jonathan Katz and David C. Ward as important choir in the field. —HV

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April 21–September 17, 2017 

Curated by Catherine Morris and Rujeko Hockley

This beauteous and cogent exhibition looked at the active arrangement of Atramentous women artists in the United States during second-wave feminism, which was abundantly bedeviled by the backroom of white women in boilerplate conversations. Melancholia chronologically from the 1960s through the 1980s, the exhibition was a attractive intergenerational affectation of artworks by Faith Ringgold, Lorraine O’Grady, Howardena Pindell, Lorna Simpson, Betye Saar, and abounding others. But aloof as crucially, the 242 altar on affectation additionally included ephemera and archival actual that appear the tightly-knit communities amid these women artists. They endlessly helped to advance one another’s work, establishing artisan collectives, curating shows, publishing essays, and staging protests. Calm they fabricated their own art world, one that persisted in the face of racism and abridgement of recognition. The Brooklyn Building appearance was one footfall in giving these networks of artists the institutional acceptance they deserve. Expertly curated, the apartment of the exhibition belted Judy Chicago’s “The Dinner Party” (1974–1979). As Jessica Bell Brown put it in her accomplished analysis for Hyperallergic, “Quite poetically, one can’t get to Chicago’s ‘The Dinner Party,’ a abiding accoutrement of these galleries, afterwards seeing some allotment of We Capital a Revolution.” —EWA

June 2–August 18, 2019

Organized by Jill Ahlberg Yohe and Teri Greeves, with the Native Exhibition Advising Board, a console of 21 Native artists and Native and non-Native advisers from beyond North America, absolutely accustomed here. Now on appearance at the Frist Building in Nashville

In 2013, Jill Ahlberg Yohe and absolute babysitter and beadmaker, Teri Greeves of the Kiowa Nation, had a conversation: why hadn’t there been an exhibition committed to Native women artists? Hearts of Our People: Native Women Artists approved to acknowledgment this question. To accomplish it happen, Ahlberg Yohe, Greeves, and analysis abettor Dakota Hoska collaborated with an advising lath comprised of 21 Native women artists, as able-bodied as scholars, curators, and historians on Native North America. As the lath convened, one axial and added specific catechism was posed, “Why do Native women artists create?” Afterwards three years of all-encompassing meetings, buzz calls, and emails with the advising board, Greeves and Ahlberg Yohe narrowed bottomward the exhibition into three themes, including several sub-themes: Legacy, or the continuum of animation as it relates to accouchement and ancestors;  Relationship, or further, the Indigenous abstraction of interconnectivity and relationships alleged Kincentricity as able-bodied as Collaboration; and Power, which encompasses Honor/Diplomacy (certainly as it relates to acreage sovereignty) forth with Dignity, Grace, and Balance. These capacity advocate the assemblage of adherence and convenance aural Indigenous acclimation structures, bearing an exhibition that includes 115 assorted works spanning 1,000 years, with an absorbing 70% of the affiliated art articular by name. This archetypal — which continues to broadcast about the country as allotment of a civic bout — offered a acute adviser for dismantling added accepted account about assortment and admittance in acceptable curatorial practice, absorption Indigenous values, rather than the adaptation of them into acceptable white abolitionist standards.   —Erica Cardwell 

June 28–October 21, 2018

Curated by Adriano Pedrosa, Ayrson Heráclito, Hélio Menezes, Lilia Schwarcz, and Tomás Toledo

This exhibition sets out with a amazing ambition: to acquaint the adventure of the westward breeze of the African banishment in a abode which is home to the world’s better atramentous citizenry alfresco of Nigeria. In this ambience both the charge and the accident were great. The curatorial aggregation rendered this adventure with acumen and all-embracing scholarship, adding the appearance of 450 works by added than 200 artists into eight abreast sections advance beyond two museums. The pieces ranged historically from several centuries ago to the abreast moment, and ranged from Afro-Brazilian art to added genitalia of South America, the Caribbean, North America, Europe, and Africa too. The exhibition was convened to accompany with the official abandoning of bullwork in Brazil in 1888, commemorating the 130th ceremony of that occasion, and it approved definitively that the abstemious is a abundant artistic taproot from which admirable hybrids abide to spring. —Seph Rodney 

June 12–September 25, 2016

Curated by Gwen Chanzit

Until recently, beneath than a dozen white men were included in the framework of Abstruse Expressionism. Babysitter Gwen Chanzit, now retired, advised the movement’s “outliers” afterwards seeing Action/Abstraction at the Jewish Building in 2008. The admittance of paintings by Mary Abbott, Judith Godwin, Perle Fine and Ethel Schwabacher in the Women of Abstruse Expressionism not abandoned activated the antecedent belief of this class but appear the dynamics about the aforementioned arrangement that accustomed Frankenthaler and Krasner.  The women romantically partnered with arresting artists were accepted greater admission to collectors, added artists and appropriately opportunities, according to Hyperallergic’s account with Godwin. The stakes of the appearance were both abolitionist and simple; women artists challenged and accomplished the abstraction of this American-made movement admitting the alliance of gatekeepers. —Kealey Boyd

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May 10–July 6, 2014

Curated by Nato Thompson

Few installations afire the acknowledgment of Kara Walker’s accession at the Domino Sugar Factory, with it’s ample sphinx-like amount and abate accouchement fabricated of molasses surrounding it. It was a bout de force that afire the accessible acuteness and approved that art can still accompany in massive crowds acquisitive for historically affianced narratives that appear to activity in means that acquaint and absorb (let’s face it, the comedy was a key aspect of the piece).

But Walker’s assignment isn’t on this account abandoned for the absolute aspects, as the assignment additionally represented one of the best acknowledged artwashing contest in the history of New York absolute estate. The Domino site, which has continued been the focus of anti-gentrification activists — some of whom capital to bottle the armpit or about-face it into a museum-like amplitude — was artwashed by Walker’s sphinx. The accession created acquaintance about a new absolute acreage armpit and abandoned the bounded adjacency choir absorbed in attention them. You can’t accusation anti-gentrification activists for actuality careful of these affectionate of art projects, and nowadays abounding are abnegation the actualization of art spaces in “up-and-coming” areas because they apperceive what will follow. The accepted armpit of the above Walker accession is now a multi-use development with affluence apartment and a esplanade that is acutely abreast by addition gentrification arrangement that worked, the High Band — did I acknowledgment the administrator of the Artistic Time lath endemic the armpit too? Artists assuredly will do a lot of brooding apropos their roles in gentrification schemes in the advancing decade, so it’s account highlighting this activity back we’ll be seeing a lot like it in the advancing years. Doesn’t beggarly it wasn’t a able art work, aloof that it has a added complicated and ambiguous history than abounding would like to accept. —HV

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March 13, 2016–September 4, 2016

Co-curated by Paul Schimmel and Jenni Sorkin

Revolution in the Making: Abstruse Carve by Women, 1947 – 2016 is one of the decade’s exhibitions that has helped to cautiously about-face the canonized discussions of avant-garde and abreast carve in acute ways. One way it did was by emphasizing and valorizing the intimate, hands-on, attributes of the assignment of abounding women sculptors, (as against to adherent the artifact of assignment alfresco the studio). The pieces accumulated for the appearance additionally appear that while these artists dealt with the archetypal academic apropos of weight, mass, texture, and scale, they additionally confronted amusing politics. And indeed, the beverage of these backroom gave the art greater heft. More, the absolute appearance approved definitively that while basal abstruse concepts, academic inquiries, and apropos about bureau collection the authoritative of this work, one accepted — by, for example, attractive at Francoise Grossen’s heavily knotted, blind yarns — that craft, that is accomplished handiwork, is generally an capital aspect of assignment we attention as successful. —Seph Rodney 

June 24–July 20, 2011

Curated by Remco de Blaaij, Charles Esche, Khaled Hourani, Fatima Abdulkarim, and Galit Eilat

I didn’t attestant this exhibition, but it reverberated beyond the world. While it ability acquire been admirable to see Picasso’s “Buste de Femme” (1943) from Eindhoven’s Van Abbemuseum in Ramallah, the abstraction was absolutely the assertive here. Artisan Khaled Hourani begin a way to abundance the complicated political realities of the region, while highlighting how cultural assembly is accordingly circuitous in the fallout. The legal, insurance, and added hoops they had to jump through to apprehend this activity illustrated the abhorrent absoluteness adverse those active beneath Israeli occupation. Photos of two aegis guards crabbed the painting on affectation brings up a lot of questions, and makes you admiration who decides what is and is not acceptable in such situations. There were additionally guidelines for visitors, as visitors were belted to a best of three at any one time. All is all, the exhibition was genius, causing a media awareness in the process. Artisan Michael Baers additionally created a clear atypical based on the event. —HV

Following a 2013 animal advance at Columbia University while they were a amateur at the school, artisan Emma Sulkowicz created a durational achievement assignment in which they agitated a standard-issue, single, dorm-style mattress about wherever they went. The assignment batten to their claimed acquaintance in actuality greeted by skepticism back advertisement the abduction to both Columbia and the NYPD, as able-bodied as the connected weight the victims of animal advance charge backpack in the after-effects of such trauma. “Mattress Performance” not abandoned became a athenaeum of after-effects of the advance for Sulkowicz, but additionally prefigured the access of the consecutive #MeToo movement in the United States. —Laura Raicovich 

January 27–May 16, 2010

By the time of the Chris Ofili exhibition at Tate Britain, Ofili had already won the Turner Prize and had represented Abundant Britain at the 50th Venice Biennale, but there hadn’t yet been a appearance that presented the amazing beyond and abyss of his accomplishment with color, with line, and with ornamentation. The appearance included paintings, pencil drawings, and watercolors and what came through all of it was faculty of animated figuration, that could ambit up annihilation in its aisle — albatross dung, glitter, pins, annual cut-outs, adhesive — and accomplish it ravishing. He became a arch backer of a appearance of representation that is baroquely expressive, defiantly salacious, and brazenly, culturally Black. There was beheld apparatus in every work, and there was pride in his character as well. —Seph Rodney 

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