• Original 2012 The Virgins Show Family Business New York exhibition invitation card, recto showing a colour photograph of six figures posed in a wood-panelled library interior with floor-to-ceiling bookshelves: from left, a young woman in a black dress, an older woman in white, a seated woman in a green armchair holding a microwave oven on her lap, a man in a dark suit, a teenage girl in a beige suit, and a young boy in a dark suit, standing on a red geometric-patterned carpet
  • Reverse of 2012 The Virgins Show Family Business invitation card showing cream ground with light grey sans-serif type reading 'THE VIRGINS SHOW / CURATED BY MARILYN MINTER / OPENING FEBRUARY 16 2012 6–8PM', followed by two participant lists: 'THE VIRGINS' including Andrew Brischler, Eric Mistretta, David Mramor, Rebecca Ward and more; 'THE BORN AGAIN VIRGINS' including Patty Chang, Kate Gilmore, Laurel Nakadate, Wangechi Mutu, Mika Rottenberg, Aida Ruilova; below, 'FAMILY BUSINESS / 520 WEST 21ST ST. NY, NY
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The New Rare

The Virgins Show — Curated by Marilyn Minter — Exhibition Invitation Card, Family Business, New York, 2012

The Virgins Show — Curated by Marilyn Minter — Exhibition Invitation Card, Family Business, New York, 2012

£100.00 GBP
£100.00 GBP
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Exhibition invitation card
Family Business, New York
16 February 2012
17.5 × 13 cm
Offset print on semi-gloss card stock, double-sided

Invitation card issued for The Virgins Show, curated by Marilyn Minter, at Family Business, New York. Family Business was a short-lived but highly influential exhibition space initiated by Maurizio Cattelan and Massimiliano Gioni in collaboration with Bard College’s Center for Curatorial Studies, operating between artist-run project space, social experiment, storefront institution, and curatorial platform.

The exhibition presented two groups: The Virgins — Andrew Brischler, Eric Mistretta, David Mramor, Rebecca Ward, and more — and The Born Again Virgins — Patty Chang, Kate Gilmore, Laurel Nakadate, Wangechi Mutu, Mika Rottenberg, and Aida Ruilova. The recto stages a deliberately awkward pseudo-family portrait centred around a microwave appliance; the verso reduces the exhibition to administrative typography: names, date, location, opening hours.

Within the The New Rare object-register, the card functions less as documentation than as retained circulation material from a specific moment in post-2008 New York exhibition culture: provisional, ironic, socially networked, and intentionally unstable in tone. A printed support from a project that treated the exhibition itself as a mutable social form.

Condition: Good vintage condition. Light surface wear, faint handling marks, minor corner softening, and light age toning consistent with circulated exhibition ephemera.

Shipping and handling included.

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