Artforhum appeared first in the form of a multicolored neon sign that was shown in the artist’s 1971 solo exhibition at the Whitney Museum of American Art. Since then, he has returned to it as a way to proclaim his discontent with the status of art as a product made by and for an elite. The work reads as a pun on Artforum, the name of the iconic art-industry journal. The resultant word, a contraction and corruption of the provocative question “Art for whom?,” suggests not only that the magazine has routinely ignored art produced outside the European-North American axis, but also invites the viewer to question his or her own cultural position.
June 13–October 1, 2014
This exhibition reconsiders the state of contemporary art in Latin America, investigating the creative responses of artists to complex, shared realities that have been influenced by colonial and modern histories, repressive governments, economic crises, and social inequality, as well as by concurrent periods of regional economic wealth, development, and progress.
Guggenheim Installation of Exhibition Under the Same Sun, in London 2015
Opening of the New Whitney Museum of American Art in Chelsea
Highlights on the sixth floor section titled "Rational Irrationalism" include Michelle Stuart, “28 Moray Hill,” 1974; Rafael Ferrer, “Neon Corner,” 1970; and Richard Serra, “Prop,” 1978.
Entrance to Rafael Ferrer at the MCA Chicago 2015
Installation at Museum of Contemporary Art, Chicago 2015
MCA Chicago 2015, Rafael Ferrer from their collection
Art Basel Miami Beach 2014
Henrique Faria Fine Art / Installation View
Re-installation of the Collection at the Ponce Museum with 2 sculptures by Ferrer from the early 1960s (center and right)