New York Times art critic Holland Cotter takes an in-depth look into this year’s Whitney Biennial in a story published March 6
New York Times art critic Holland Cotter takes an in-depth look into this year’s Whitney Biennial in a story published March 6
March 7

Michelle Grabner Featured Favorably in New York Times Whitney Biennial Review

New York Times art critic Holland Cotter takes an in-depth look into this year’s Whitney Biennial in a story published March 6, where he breaks down each floor as if they were layers of a cake. Cotter sets up his analogy by discussing the Biennial’s evolution to what it is today: A “large, three-tiered cake of a show, mostly vanilla, but laced with threads of darker, sharper flavor, and with a lot of frosting on top.” Of SAIC professor Michelle Grabner’s work, Cotter says, “If you want to go straight for frosting, head to Ms. Grabner’s installation on the fourth floor, which has by far the most artists—about half the show’s total count of just over 100—along with the biggest objects and the brightest colors.”