Abstract
Abstract This article considers exhibitions as archival documents, and conceives of the restaging of exhibitions as an act of appropriating the archive. It examines The Pictures Generation 1974–1984 (2009), curated by Douglas Eklund as a restaged 'riff' on Pictures (1977), curated by Douglas Crimp. Pictures was a focused meditation on the historical significance of a particular aesthetic strategy. The Pictures Generation historicized Pictures as the foundational moment of appropriation. Eklund's form of restaging, however, reinforced the racially segregated realities that have marginalized the history of appropriative practices by artists of colour. Drawing on a post+colonial framework, I consider how exhibition restagings may be leveraged as a curatorial strategy of historical rupture.
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