The artist, who has crafted elaborate, large-scale installations since the 1990s, lends some brand-new work to a career-spanning exhibition in New York City.
Pepón Osorio is not like other artists. I knew this fact before I met him at his studio in Philadelphia a month before the opening of his sprawling new show,at the New Museum in New York City. But when I visited the exhibition—which is now on view through September 17, 2023—I learned the show’s co-curators, Margot Norton and Bernardo Mosqueira, felt just the same about the Puerto Rican visual artist.
Now, a selection of his large-scale installations are displayed on the second floor galleries at the New Museum.focuses on the elaborate, multimedia environments Osorio has been crafting since the early 1990s. A number of installations have been mounted, including “Scene of the Crime ” and Osorio’s latest piece “Convalescence,” 2023.
Osorio moved to the Bronx in 1975. “I came with the excuse to go to university,” he said. “But I actually came to New York because I wanted to leave the island. The dreams that my parents had and the ideas that I had of what I wanted to become didn’t match. The other reason is because I’m of African descent. I realized that things were three times more difficult for me to achieve because I was Black, so I had to be somewhere else.
Osorio had become known for his many personal and socially engaged artworks by the 1990s. He had a retrospective at El Museo del Barrio in 1991,. But it wasn’t until the infamous 1993 Whitney Biennial—which brought identity politics to the forefront of the art world and featured artists like Daniel Martinez, Fred Wilson, Guillermo Gómez-Peña, and Coco Fusco—that he reached a higher level of notoriety.
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