2005 was the best of art times, and it was the worst of art times.
By Christopher Knight, Los Angeles Times Art Critic
The UCLA Hammer Museum offered an invigorating survey of new art that crystallized an emerging sensibility among younger artists, braced against the feeling of dissolution so prevalent now
MoMA launched its special exhibition program with an innocuous show drawn from a big-money corporate collection, then concluded the year with a flimsy retrospective of local artist Elizabeth Murray, whose formidable promise in the 1980s never panned out.
In Berlin, the monumental sterility of New York architect Peter Eisenman's immense Holocaust memorial offered a grim warning about the fate that seems destined to befall the similarly conflicted site for New York's planned 9/11 memorial.
Two very different works lifted the Venice Biennale out of its typical torpor. Barbara Kruger covered the Fascist-era façade of the 1932 Italian pavilion with a "tattoo."
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