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In Print: Most-read articles of the 2022/2023 season

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IN PRINT Looking back on the year in print, Artforum lists its ten most-read articles of the 2022/2023 season. Anna Boghiguian, The Salt Traders (detail), 2015, mixed media. Installation view, Van Abbemuseum, Eindhoven, the Netherlands. Photo: Peter Cox. Claire Bishop on the superabundance of research-based art“For fabulation to have critical currency, it matters which histories are being retrieved and why.” Jerzy Skolimowski, EO, 2022, 4K video, color, sound, 88 minutes. John Water’s best films of 2022“Can a donkey remember? Just ask Isabelle Huppert, who pops up in this movie for no apparent reason except that she’s the best actress in the world.” Hamilton Harris and Ivan Perez, New York, 1994. Photo: Mel Stones. Lila Lee-Morrison on Kids and the surplus of the image“Kids was released in the summer of 1995. I see it as an event that transformed, if not destroyed, the essence of that insular downtown world in which we lived.”

Nicole Eisenman, Sluts, 1993, acrylic on poster, 19 3⁄4 × 27 1⁄2". Sarah Schulman on Nicole Eisenman in the 1990s“Nineties lesbian radicality eschewed the causal explanations of both nature and nurture. We just declared ourselves to be.” Wolfgang Tillmans, playground, Luxembourg, 1986, medium and dimensions variable. Alex Kitnick on the art of Wolfgang Tillmans“In contrast to an earlier generation of photographers who examined their social worlds, Tillmans presented his as abuse-free. No black eyes. Only tenderness.” hannah baer nude deepfake, 2023. hannah baer on mythologies of intelligence“What lies beneath this fantasy of an adversary, a creation that arrives to avenge its own existence by destroying its maker?” View of “Gerhard Richter: Panorama,” 2012, Neue Nationalgalerie, Berlin. From left: Abstraktes Bild, 1990; Abstraktes Bild, 1980; Betty, 1988. Photo: David von Becker. © Gerhard Richter. John Ganz on Gerhard Richter“Richter is divided between a materialistic Weltschmerz that can verge on despair and a high idealism that seeks metaphysical transcendence.”

The Nest Collective, Return to Sender, 2022, textile remnants, electronic scrap, video. Installation view, Karlswiese, Kassel. From Documenta 15. Photo: Nils Klinger. David Joselit on Documenta 15 and the 59th Venice Biennale“Whether as a history in pieces or a history in plants, these two exhibitions insist that the tools we need to construct a usable past are present to us if we excavate them.” Visualization from Daniel Bolojan/Nonstandardstudio’s Machine Perceptions: Gaudí + Neural Networks, 2021. Mario Carpo on the new humanism“AI-driven image-making—far from heralding some future post-human development—appears to be reviving long-dormant visual strategies that dominated the arts, and art theories, of the past.” Josh Kline, Packing for Peanuts (FedEx Worker’s Hand with Scanner) (detail), 2014, 3D-printed sculptures in plaster, ink-jet ink, and cyanoacrylate; cast urethane, vinyl, cardboard, medium-density fiberboard, overall 35 × 36 × 12". From the series “Blue Collars,” 2014–20. Colby Chamberlain on the art of Josh Kline“Commodities not only surround the body with signifiers but transfigure the body from the inside out, until flesh itself convulses into another sign of exchange.”

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