Adrian Margaret Smith Piper
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One Woman Exhibitions

• 1994
  
• "The Hypothesis Series 1968-70," Paula Cooper Gallery, New York, New York

  1995
  

• "Cornered/Decide Who You Are," SUNY Buffalo, Buffalo, NY

Group Exhibitions

• 1993-94
  
• "Ciphers of Identity," Fine Arts Gallery, University of Maryland, Baltimore County (traveling)

  1994
  

• "L'Hiver de l'Amour," Musee d'Art Moderne de Ville de Paris, Paris, France
• "Can You Always Believe Your Eyes?" Museum of Contemporary Art, DeBeyerd, Breda,Holland
• "Dignity for All: Reflections on Humanity," Artimo, Zeist, Holland
• "Thirty Years", Larry Aldridge Museum of Contemporary Art, Ridgefield, Conn.
• "Mappings", The Museum of Modern Art, New York, N.Y.

  1994-95
  

• "The Winter of Love", Institute of Contemporary Art (P.S. 1), Long Island City, N.Y.

  1995
  

• "Articulate", Mary Delahoyd Gallery, New York, N.Y.
• "Gewalt/Geschafte", Neue Gesellschaft fur bildende Kunst e.V., Berlin, Germany
• "Black Male: Representations of Masculinity in Contemporary American Art", curated by Thema Golden, Whitney Museum of American Art, New York, N.Y.
• "The Message is the Medium: Issues of Representation in Modern Technologies", Castle Gallery, College of New Rochelle, New Rochelle, N.Y.
• "ARS 95", Museum of Contemporary Art, Finnish National Gallery, Helsinki, Finland
• "Civil Rights", Cleveland Center of Contemporary Art, Cleveland, Ohio
• "Reconsidering the Object of Art", Museum of Contemporary Art, Los Angeles, Ca.

Comments
Adrian Piper's work is also concerned with raising personal consciousness through her own identity in her art works. Piper is engaged with the formal process of her work at the meta level; the level of philosophy. She chooses to show her bias clearly, where the subject is object. She attempts to subvert the objective authoritative voice and to challenge the construction of truths proposed by mass media and some video art pieces. Piper's content is concrete and confrontational; concerned with immediacy of issues by expressing current politically charged concerns. Piper attempts to reach that which fuels stereotypes and challenges her viewers into altered conscience. Since the issues Piper deals with are so confrontational, she must carefully decide her role as moral agent. Often this choice is one between either that of being polite, or being an instigator. (Incidentally, this is the same quagmire that I often face in my own work.) Piper chooses the former, believing it is self-defeating to scream in people's faces simply to make the subject seem more upsetting. She is not out to convince people that they are wrong, but rather to lead her audience to the meta level, that level that requires abstract thinking.

-- Donna Marie McCabe

"Adrian Piper works genius at demystifying the political economy of what she tags 'racial classification.' Her call to American whites to face up to their black heritage (and to blacks to do the reverse) takes multiracialism/multiculturalism beyond politically correct arts programming and into the realm of configuring a new American identity."

-- Lisa Jones