As just lately as 2017, the Guggenheim Museum’s then-chief curator, Nancy Spector, mentioned she had been “hesitant at finest” when Cattelan approached her a few attainable sculpture of an airplane embedded in an edifice.
“The timing (and possibly the situation) was off,” Spector, who has since left the museum, wrote in a forthcoming essay for the HangarBicocca catalog. “After 9/11, particularly for New Yorkers, nothing felt secure.”
Even 4 years later, Spector, within the essay, acknowledged that, “‘Blind’ will, little doubt, elicit robust emotional responses.” However, she added: “The truth that this monolith of a sculpture will probably be first proven in a museum context in Milan as a part of the artist’s exhibition — and never within the midst of New York Metropolis — will enable the work to breathe, because it have been, and take a look at itself publicly as an object of deep and complicated that means.”
The Guggenheim declined to remark.
Roberta Tenconi, the curator at HangarBicocca, and Vicente Todolí, the inventive director, mentioned in an e-mail that they “didn’t have any doubt” about displaying “Blind.”
“Artwork is an expression of freedom and the function of a museum, we imagine, is to be a spot for sharing totally different voices and for producing ideas and reflections on the world we live in,” they wrote in a joint e-mail.
“‘Blind’ undoubtedly recollects a darkish and tragic second in historical past, and it’s there to recollect the fragility and the vulnerability of all human beings,” they continued. “Exhibiting the work in New York is a choice as much as the cultural and artwork establishments there.”