
I went to the MoMA today to check out the Pipilotti Rist installation. (To be perfectly frank, the Swiss artist's name reminded me of the spunky Pippi Longstocking children's book character - whom I found terribly amusing as a kid - and that's why I went to see the installation. I figured that the Swiss have yet to fail me: Swiss Miss hot chocolate mix, Heidi, Pippi Longstocking, and have you ever tried a chocolate swiss roll? 'Nuff said.) Rist was commissioned to re-invent one of the MoMA's gallery spaces.
I walked in and felt nothing other than a mild shock that the installation specifically requested visitors to remove their shoes and kick back on the shag rug or the circular couch. They want you to lounge comfortably and absorb the visual experience. I felt...unimpressed. That may have had more to do with the fact that there were tons of four-year-olds screaming their heads off and guests were sprawled with their backs on the floor to watch the psychadelic colors and images cast onto the room's walls. I nearly stepped on some poor guy's hand. Neat idea, but I was kind of not digging this:

That's a naked white woman crawling through a grassy field on all fours. This image is cast all around the walls FOR THE CHILDREN TO SEE. I'm not one for censorship, but I could just imagine the kids asking "Mommy, why does she have bumps hanging from her chest?" AWKWARD.
The photo above is the piece I found most striking during today's visit. Details from the website are below.
Annette Messager. (French, born 1943). My Vows. 1988-91. Photographs, colored graphite on paper, string, black tape, and pushpins over black paper or black synthetic polymer paint, Overall approximately 11' 8 1/4" x 6' 6 3/4" (356.2 x 200 cm). Gift of The Norton Family Foundation. © 2009 Artists Rights Society (ARS), New York / ADAGP, Paris
This work brings together hundreds of photographs, each of which presents a small part of a human body: mouths, ears, feet, noses, genitals, hands, breasts, and so on. Each hangs from a string, joining and partly obscuring others. Together they make a dense circle whose diameter is barely greater than the height of a person or the span of his or her arms. The individual elements—male and female, old and young, seductive and repellent—form a whole that is greater than the sum of its parts. Their physical, psychological, and sexual identities co-mingle in an inexhaustible variety of unpredictable relationships, which, together, overwhelm the stable patterns of our familiar arrangements.
Messager's Vows might be the passionate devotions of sexual love, or they might be the votive offerings of an old religion, hung in a chapel to ask for the healing of an ailing eye or limb. These divergent allusions are fused in this hybrid work—part photography and part sculpture.