Review: Hannah Wilke, Tibor de Nagy
Alex Fialho, Artforum
January 2015
Hannah Wilke’s art was always one of intimate gestures. Sculpting gum she chewed into vaginal voids, photographing herself nude in various poses, and drawing watercolors that detailed the deterioration of her body from cancer treatments, Wilke used touch and extreme candor to explore feminine form. Tibor de Nagy’s exhibition included examples of these well-known bodies of work, yet, most interestingly, it also shed light on the way in which intimacy came to inflect Wilke’s practice through a foregrounding of her personal relationships: namely her friendship with a single family, the Axelrods, whose collection of Wilke’s art, much of it given to the family by the artist as a gift, constituted the majority of this small show. […]