The 2014 Whitney Biennial has debuted with a controversial three-curator structure, tasking Michelle Grabner, Stuart Comer, and Anthony Elms with organizing separate floors of the museum. This meta-review aggregates the initial critical reception from major publications, noting that the fragmented format has forced critics to evaluate the exhibition as three distinct shows rather than a unified vision.
Early reviews are largely lukewarm to negative, with critics like Holland Cotter and Jerry Saltz expressing frustration over the show's perceived lack of risk-taking and its resemblance to a commercial art fair. While Grabner’s floor received some praise for its focus on abstract painting, the overall consensus suggests the biennial suffers from an overstuffed roster and a 'safe' curatorial approach that relies too heavily on established or deceased artists.