In 2024, I resolved to refrain from allowing wall labels to influence my art critiques. This pledge arose after I encountered various opinions regarding that year's Whitney Biennial. A thought-provoking question posed by Jackson Arn in a prominent publication was, "What if all the labels in 'Even Better Than the Real Thing,' the 81st Whitney Biennial, were removed? Would the experience change?" His commentary suggested that the exhibition could have benefited from such an approach. Similarly, Travis Diehl from another leading paper pointed out that the labels, intended to guide viewers through the artworks' meanings and social contexts, often felt patronizing.
These critiques seemed closely linked to Jerry Saltz's candid assertion that "the show isn't for people like me," referring to critics often identified by their common initials. It raised an interesting point: why focus on the labels if one has substantial insights about the exhibition? I confidently thought that wouldn't apply to me.
However, my perspective shifted when I attended the 36th Bienal de São Paulo, curated by Bonaventure Soh Bejeng Ndikung and featuring 125 artists and around 1,200 artworks spread across an expansive venue. While the exhibition had many commendable aspects, I was compelled to address the subpar quality of its educational materials.
Labels featuring artists' names and QR codes were positioned on the floor, which I found unhelpful, as they diverted attention to smartphones rather than the art itself. Additionally, while there were labels providing details about the artist and their work, they were often placed far from the actual pieces, making it feel like a treasure hunt to gather information.
Moreover, lengthy section texts for each of the six chapters of the exhibition were affixed to pillars, containing extensive information about each artist--sometimes exceeding 500 words. With 125 artists involved, this resulted in an overwhelming amount of text. In contrast, most museums typically limit detailed descriptions to around 100-125 words to avoid overwhelming visitors.
This approach of providing excessive information while making basic details hard to find created a paradox. The organizers claimed their strategy was to foster a direct connection between viewers and art, presenting it as a democratic gesture that acknowledged the diverse backgrounds of visitors. However, not everyone was convinced of this rationale. Some critics argued that withholding context in contemporary art could be seen as a colonial act.
Despite differing opinions, it was evident that many casual viewers, including families visiting the exhibition, sought basic information, such as the artist's name, indicating its importance to their experience. The Bienal's free admission policy notably attracted a diverse audience, unlike many U.S. museums that obscure this detail.
My reflections led me to consider the broader implications of how exhibition texts are crafted. Conversations with experts in museum interpretation revealed that effective labels should cater to a wide range of audiences, providing clear and engaging information without alienating anyone. The challenge lies in balancing accessibility with depth, ensuring that all visitors can connect meaningfully with the art.
Ultimately, the task of creating wall texts that resonate with both novices and seasoned art enthusiasts remains vital. These texts serve as a direct line of communication between institutions and their visitors, fostering an inviting atmosphere. My experience at the São Paulo Bienal highlighted the necessity of refining this mode of address to enhance the overall visitor experience.