I had the pleasure of going to the Tate Modern in London last week. The Gerhard Richter retrospective was mind-blowing. What amazed me was how much freedom he gave himself to experiment and go away from forms he'd had previous success with: from painting over newspaper photos to giant grey monoliths, from hyper-realism to abstract gestural forests.
The Taryn Simon exhibit was also wonderful. She spent four years photographing "blood lines" around the world—direct descendants of chosen subjects such as the first woman to hijack a plane, a mother who gave birth to thalidomide babies, a husband with nine wives, a man hired by Saddam Hussein to impersonate his son, Uday. What became most interesting was not who was represented in the images but who was absent and why: kidnapping, refusal to participate, excommunication from the family, death. The holes in the family line as important to the story as the line itself.
I recorded this on the fifth floor in an exhibit called States of Flux.