{"id":1355,"date":"2026-10-30T12:24:18","date_gmt":"2026-10-30T12:24:18","guid":{"rendered":"https:\/\/ftn-blog.com\/?p=1355"},"modified":"2026-10-30T12:24:19","modified_gmt":"2026-10-30T12:24:19","slug":"the-amsterdam-paris-dusseldorf-exhibition-at-the-guggenheim-museum","status":"publish","type":"post","link":"https:\/\/ftn-blog.com\/?p=1355","title":{"rendered":"the AMSTERDAM PARIS D\u00dcSSELDORF exhibition at the Guggenheim Museum"},"content":{"rendered":"
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Amsterdam Paris D\u00fcsseldorf: The Guggenheim’s 1972 Experiment in European Discovery<\/strong><\/p>\n\n\n\n

In the fall of 1972, the Solomon R. Guggenheim Museum in New York did something unusual: it handed over curatorial control to three outsiders. The show was not one exhibit but three, chosen independently by Fritz Keers of Amsterdam’s Stedelijk Museum, Blaise Gautier of Paris’s Centre National d’Art Contemporain, and J\u00fcrgen Harten of D\u00fcsseldorf’s St\u00e4dtische Kunsthalle. Artforum<\/a><\/p>\n\n\n\n

Running from October 6 to November 26, 1972, the exhibition brought together the work of emerging artists from three of Europe’s most vital contemporary art scenes. The premise was simple: artists working abroad rarely reached American audiences unless they already had New York dealers or museum connections. This show aimed to give a group of foreign-based artists a real platform in New York. Internet Archive<\/a>Mullen Books<\/a><\/p>\n\n\n\n

The results were remarkably prescient. The catalogue introduced then-little-known names like Joseph Beuys, Christian Boltanski, Dieter Roth, and Ben Vautier \u2014 artists who would go on to become towering figures in postwar art. Marcel Broodthaers, born in Brussels but working in D\u00fcsseldorf, showed a piece called My Collection, a tongue-in-cheek meditation on art-world documentation, following his acclaimed Eagle Museum<\/em> at Documenta 5 that same year. Google Books<\/a>Artforum<\/a><\/p>\n\n\n\n

What made the show unusual wasn’t just the artists \u2014 it was the structure. By handing selection entirely to the three European curators, the Guggenheim avoided imposing American taste, even though this meant some works arrived stripped of the cultural context that might have explained them. Beuys, for instance \u2014 already a professor at the D\u00fcsseldorf Academy since 1961 and a central Fluxus figure \u2014 came across differently to American eyes than he did at home. Artforum<\/a>Artforum<\/a><\/p>\n\n\n\n

More than fifty years later, the exhibition reads as an early, clear-eyed snapshot of a generation of European artists on the verge of international significance \u2014 captured just before the rest of the world caught up.<\/p>\n\n\n\n

www.ftn-books.com<\/a> now has the catalog for this historical exhibition available.<\/p>\n\n\n

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Amsterdam Paris D\u00fcsseldorf: The Guggenheim’s 1972 Experiment in European Discovery In the fall of 1972, the Solomon R. Guggenheim Museum in New York did something unusual: it handed over curatorial control to three outsiders. The show was not one exhibit but three, chosen independently by Fritz Keers of Amsterdam’s Stedelijk Museum, Blaise Gautier of Paris’s … Read more<\/a><\/p>\n","protected":false},"author":1,"featured_media":1356,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1355","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/ftn-blog.com\/index.php?rest_route=\/wp\/v2\/posts\/1355","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ftn-blog.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ftn-blog.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ftn-blog.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ftn-blog.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1355"}],"version-history":[{"count":1,"href":"https:\/\/ftn-blog.com\/index.php?rest_route=\/wp\/v2\/posts\/1355\/revisions"}],"predecessor-version":[{"id":1358,"href":"https:\/\/ftn-blog.com\/index.php?rest_route=\/wp\/v2\/posts\/1355\/revisions\/1358"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ftn-blog.com\/index.php?rest_route=\/wp\/v2\/media\/1356"}],"wp:attachment":[{"href":"https:\/\/ftn-blog.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1355"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ftn-blog.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1355"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ftn-blog.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1355"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}