Abstract
Abstract Picasso curated his first large-scale retrospective, Exposition Picasso, which was held at the Galeries Georges Petit in Paris, in 1932. When asked how he arranged the works, Picasso replied, ‘Badly’. This article unravels the artist’s curation, beginning with his juxtaposition of a lowly houseplant with the sculpture Woman’s Head (1929–30). Using archival research, installation photographs, and the writings of Picasso’s contemporaries, this article offers an interpretation of the exhibition by analysing Picasso’s deliberately inconsistent curatorial strategies, which defied the chronological and teleological narratives often applied to his career and that tend to dominate the traditional history of modernism.
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