It seems to me like word on the street indicates a greater interest in Documenta/Muenster than Venice. Venice obviously has a leg up in terms of its historical significance (1894). But, well, Felix Gonzales-Torres is representing the U.S. A significant artist? Yes. Risk factor? Low.

How can one climb *that* far onto the limb when choosing one artist or a collective of artists to represent a single country in a show that's older than Adam? Especially when the country I've chosen as my example here--our fine, fine country--hosts the second-oldest now-global art exhibition? (Hail, my beloved Carnegie International. 1896, represent.)

American collectors will surely flock to Venice--they always do. But let's think back to the last Documenta: Regardless of whether one loved it or hated the exhibition, Enwezor hedged his bets on many figures then-emerging or at least somewhat recently arrived on the international scene. He was chastised by some critics who questioned whether some of the collectives, for instance, should even be considered as "art." Chelsea is scrambling to discover the freshest work possible and collectors take their cues from the galleries (among other places, of course). These galleries--and the collectors who patronize them--captured Felix Gonzales-Torres many years ago. If I weren't a broke-ass recent graduate, I'd surely hit Documenta/Muenster before Venice.

Besides, Venice is nasty in the summer (she says, consoling her U.S. soil-bound self...)

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