Abstract
The international art press has weighed in and its verdict is clear: the 50th Venice Biennale was weak, weak, weak! Even under the best of circumstances, the Biennale is a difficult, marathon event, with exhibitions spread among sixty-four national pavilions, half in the Giardini (Venice’s city park), the other half distributed around the city; the endless-seeming Arsenale; and numerous other locations, this time including the Museo Correr in St. Mark’s Square, home to a survey of painting from 1963 to the present. During the vernissage in mid-June, temperatures in Venice consistently reached over 100 degrees Fahrenheit, with the result that the throngs of art lovers often felt as if they had to choose between seeing more art or doing something—anything!—to ward off heat prostration.
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