As denizens of the floating art world migrate to Venice (or re-migrate for those who had to be at the Hirst show) for the opening of the biennale, the New York Times is impressed with the Christine Macel’s curatorial turn away from overtly political topics back toward questions of art and the role of the individual artist:

“Viva Arte Viva” begins with a methodological question: What does it mean to be an artist today? It showcases 120 artists, 103 of whom are participating in the Biennale for the first time. Ms. Macel chose to give the Biennale’s Golden Lion for lifetime achievement to the pioneering feminist performance artist Carolee Schneemann, whose work — including her bacchanalian 1964 video, “Meat Joy” — pushes the boundary between dance and visual art. “I wanted to honor someone who’s changed the definition of artist,” Ms. Macel said.

A Venice Biennale About Art, With the Politics Muted  (The New York Times)