Wangechi Mutu, Sentinel I, 2018. Paper pulp, wood glue, concrete, wood, glass beads, stone, rose quartz, gourd, and jewelry. Collection of the artist; on display at the 2019 Whitney Biennial. Photo by Renée DeVoe Mertz.
Brian Belott, Untitled (detail), 2018. Mixed media in ice in freezer. Collection of the artist; on display at the 2019 Whitney Biennial. Photo by Renée DeVoe Mertz.
Jennifer Packer, Untitled, 2019. Oil on canvas. Collection of the artist; on display at the 2019 Whitney Biennial. Photo by Renée DeVoe Mertz.
Alexander Calder’s Cirque Calder (1926–31) on view with his film, Calder’s Circus (1961) at the Whitney Museum of American Art in 2019. Photo by Renée DeVoe Mertz.
Josh Kline, 432 Park Avenue, Manhattan, 2019. Digital chromogenic prints, metal frames, hardware, pumps, water, LED lights, glass, acrylic, colored gels, and paint. Collection of the artist; on display at the 2019 Whitney Biennial. Photo by Renée DeVoe Mertz.
Agustina Woodgate, National Times, 2016/2019. Clocks, hardware, and sanding twigs. Collection of the artist; on display at the 2019 Whitney Biennial. Photo by Renée DeVoe Mertz.
Ellie Ga, Gyres 1–3, 2019. High-definition video, color, sound. Collection of the artist; on display at the 2019 Whitney Biennial. Photo by Renée DeVoe Mertz.
Jennifer Packer, An Exercise in Tenderness, 2017. Oil on canvas. Collection of the artist; on display at the 2019 Whitney Biennial. Photo by Renée DeVoe Mertz.
Janiva Ellis, Uh Oh, Look Who Got Wet, 2019. Oil on canvas. Collection of the artist; on display at the 2019 Whitney Biennial. Photo by Renée DeVoe Mertz.
Brian Belott, three Untitled pieces from 2018. Mixed media in ice in freezer. Collection of the artist; on display at the 2019 Whitney Biennial. Photo by Renée DeVoe Mertz.
Milano Chow, Night Exterior II (detail), 2019. Graphite, ink, vinyl paint, and photo transfer on paper. Collection of the artist; on display at the 2019 Whitney Biennial. Photo by Renée DeVoe Mertz.
Daniel Lind-Ramos, Maria-Maria, 2019. Metal basin, wooden seat, lamp, tarp, coconuts, palm-tree trunk, steel sheet, rope, beads, fabric, tacks, wood, plastic tubing, steel bars, scissors, and wooden box. Collection of the artist; on display at the 2019 Whitney Biennial. Photo by Renée DeVoe Mertz.
Diane Simpson, Lambrequin and Peplum, 2017. Painted fiberboard, crayon on polyester, and copper tacks. Collection of the artist; on display at the 2019 Whitney Biennial. Photo by Renée DeVoe Mertz.
Foreground: Iman Issa, Heritage Studies #27, 2017. Painted wood and vinyl. Collection of the artist; on display at the 2019 Whitney Biennial. Photo by Renée DeVoe Mertz.
Brutal, beautiful, mesmerizing, horrifying, Heji Shin’s photographs of actual births were my favorite works in an already strong Biennial. Left to right: Baby 6, 2016; Baby 10, 2016; Baby 7, 2016; Baby 16, 2017; Baby 1, 2016. Inkjet prints. Collection of the artist; on display at the 2019 Whitney Biennial. Photo by Renée DeVoe Mertz.
Marisol, Women and Dog, 1964. Wood, plaster, synthetic polymer, taxidermied dog, and pre-fabricated objects. Collection of the Whitney Museum of American Art, New York.
All four “women” in the work are self-portraits of Marisol. Photo by Renée DeVoe Mertz.
Andrew Wyeth, Winter Fields, 1942. Tempera on composition board. Collection of the Whitney Museum of American Art, New York. Photo by Renée DeVoe Mertz.
Daniel Lind-Ramos, Centinelas (Sentinels), 2013. Steel bars, palm-tree trunk, burlap, plywood, rope, spoons, mirrors, soil, steel tubes, tools, cauldron, palm-tree branches, and wire. Collection of the artist; on display at the 2019 Whitney Biennial. Photo by Renée DeVoe Mertz.
Simone Leigh, Corrugated, 2018. Bronze and raffia. Collection of the artist; on display in the 2019 Whitney Biennial. Photo by Renée DeVoe Mertz.
Diane Simpson, Valance and Peplum, 2017. Enamel on fiberboard and wood, ceiling tin, and steel. Collection of the artist; on display at the 2019 Whitney Biennial. Photo by Renée DeVoe Mertz.