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Top 10 New England Art Exhibits of 2010

Art – and art spaces — of all sizes
By GREG COOK  |  December 28, 2010

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• SEXCAPADES
Washington Street in Boston, between Stuart Street and Downtown Crossing, was long the city's officially sanctioned area for adult bookstores, clubs, and movie houses — as well as not-so-sanctioned prostitution. It was mostly cleaned up in the 1990s, but this year Howard Yezerski Gallery revisited our sordid past in its exhibit "The Combat Zone: 1969–1978." Gritty vintage photos by Roswell Angier of Cambridge, Jerry Berndt of Paris, and John Goodman of Wellesley documented the strip clubs, hookers, and sketchy street denizens. The show was a model of local history and local art (plus sex) that our museums could learn from. Nicest curatorial touch: in the gallery's window hung the blinking neon sign from the Naked i strip club, which was demolished in 1996.

SLIDESHOW: "The Combat Zone: 1969 - 1978."

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  Topics: Museum And Gallery , Institute of Contemporary Art , Institute of Contemporary Art , Museums ,  More more >
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  •   CLOTHES MAKE THE MAN  |  May 13, 2013
    What does it mean to be a man? That's the question at the heart of this smart, sumptuous exhibit — one of the best shows in the region this year.
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    Parked out front of Brown University's gray modernist Granoff Center on a recent sunny morning were one of those 15-foot-tall inflatable rats that unions install in front of businesses they're protesting and a limousine sloppily painted to resemble a yellow and black school bus.
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    Among the handsome Washington Street storefronts of AS220's renovated Mercantile Block building, with their neo-old-timey signs, is the residents' entrance to the building. It is against AS220's religion to leave any space empty that can be filled with art. So the lobby is the AS220 Resident Gallery, which occupants of the building take turns filling with their stuff.
  •   IN THE CITY  |  April 23, 2013
    One of the distinguishing characteristics of the Providence art scene is how the city itself has been such a rich subject. A decade ago, the city became a galvanizing topic as artists fought to protect the old mills that served as their homes and studios from demolition — with mixed success. But lately, the community's industrial architecture itself has attracted artists' attention.
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    From the ruins of the Iraq war emerges Wafaa Bilal's "The Ashes Series" and Daniel Heyman's "I Am Sorry It Is So Difficult To Start," on view at Brown University's Bell Gallery.

 See all articles by: GREG COOK