According to Roberta Smith in her year-end overview, one of the bright spots of 2010 was the visibility of female artists. “In the scrum of exhibitions surrounding the Frieze Art Fair in London, the small survey of Klara Liden�s architectural interventions and re-creations at the Serpentine Gallery, the forward-looking alternative space in Regent�s Park, was a standout. Back in New York a newly refurbished Artists Space showed work by the overlooked German Minimalist Charlotte Posenenske; and the Elizabeth Dee Gallery rented a floor of the building formerly known as the Dia Center for the Arts to amount a spacious Dia-like survey of the work of the influential Conceptual artist Adrian Piper.
At the Metropolitan Museum of Art the exhibition �Playing With Pictures: The Art of Victorian Photocollage� proposed that the onset of collage be moved back nearly half a century and across the English Channel, out of the studios of the Cubists and into the drawing-rooms of upper-class British women making tableaus from cut-up photographs. At the Modern �On Line: Drawing Through the Twentieth Century� teems with work by little-known or under-shown women.
The Neuberger Museum or Art in Purchase, N.Y., resurrected Faith Ringgold�s staunch early paintings, and the Brooklyn Museum added a roster of women to the history of Pop Art. And in New York galleries substantial shows by women have been abundant, including those by newcomers like Liz Magic Laser, Shio Kusaka, Keltie Ferris and Tatiana Trouv�, as well as better-known artists like Sarah Sze, Anya Kielar, Huma Bhabha, Claire Pentecost, Rineke Dijkstra, Mika Rottenberg, Siobhan Liddell, Pipilotti Rist and Joan Snyder. Diverse in age, style and medium, the girls are all right, and getting better all the time. Too bad they don�t run Washington yet.”