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The Metropolitan Museum of Art’s exhibition “Krasner and Pollock: Past Continuous” presents the artists’ work alongside the story of their marriage. A Hyperallergic review describes the installation as exceptionally designed and argues that its arrangement brings questions about Lee Krasner’s art, life with Jackson Pollock and survival into view without spelling out a single interpretation.
The Metropolitan Museum of Art is presenting “Krasner and Pollock: Past Continuous,” an exhibition that brings work by Lee Krasner and Jackson Pollock into the same galleries and invites attention to their marriage as well as their art. In a review for Hyperallergic, the critic calls the installation unusually accomplished and says its restrained presentation leaves the show’s personal and historical tensions visible without explaining them away.
The review describes a narrow entrance corridor featuring a silent video made from collaged film and photographs of the artists’ Long Island cottage. The corridor leads into galleries with artworks, including Krasner’s Re-Echo (1957) and Combat (1965), both oil paintings. The source identifies the exhibition as “Krasner and Pollock: Past Continuous” and places it in a section of the Met’s second floor.
The critic’s account frames the exhibition around questions of how Krasner made her paintings and how her work relates to a life shared with a much more publicly famous artist. The review also recalls Pollock’s death in a car crash on August 11, 1956, while driving under the influence; Edith Metzger, a passenger, also died. These details are part of the reviewer’s framing, rather than a newly reported development about the crash.
The review says the display is “unfussy” and that questions of bias and reparation are “on the surface,” presented quietly. Those are the critic’s interpretations of the exhibition. The supplied material does not include a museum statement, curator interview, attendance figures or a full checklist of the works.
Krasner’s Work Takes Center Stage
The exhibition matters because it puts Krasner’s paintings beside the story that can overshadow them: her marriage to Pollock and his fame. The review asks how Krasner’s experience shaped her art, while treating that relationship as difficult to reduce to a single account. That approach gives visitors a way to consider her artistic choices and circumstances without assuming the marriage itself explains the work.
The review’s emphasis on the installation also points to how museums shape what audiences see. A quiet, carefully arranged presentation can place biography and gendered ideas about artists in view without turning them into a definitive answer. The critic’s encounter with a visitor commenting on Krasner’s appearance underscores how judgments about women artists can persist even in a gallery devoted to their work; it is one reported moment, not evidence of visitors’ views generally.
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A Marriage in the Gallery
Krasner and Pollock were both artists, but the review describes Pollock as briefly the most famous artist in America. Their relationship is part of the exhibition’s organizing frame, alongside works made by each artist. Pollock died in a car crash in 1956; the review states that Metzger, who was riding with him, also died.
The title, Past Continuous, suggests memory and an unresolved past, according to the critic’s reading. The source describes galleries in a somewhat hard-to-access area on the second floor and notes crowds during the reviewer’s Saturday visit. It does not establish that these conditions are typical or provide broader visitor data.
““one of the most gorgeously designed and ingeniously installed exhibitions in the museum’s history””
— Hyperallergic reviewer
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The Exhibition’s Full Scope
The supplied report does not specify the exhibition’s dates, full checklist, curatorial argument or how many works by each artist are displayed. It also does not include the Met’s account of the show’s aims. The reviewer raises questions about how Krasner’s marriage and survival relate to her art, but the source does not establish a single answer or claim that the exhibition resolves them.
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Visitors Can Judge the Pairing
The exhibition is on view at the Met, according to the supplied report. Readers interested in visiting should consult the museum for current dates, hours and access information, which are not included in the source material. Further reporting could establish the show’s run, its complete list of works and the curators’ views on how the artists’ shared history informs the installation.
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Key Questions
What is “Krasner and Pollock: Past Continuous”?
It is a Metropolitan Museum of Art exhibition presenting work by Lee Krasner and Jackson Pollock in galleries that also bring their shared history into view.
What does the review say about the installation?
The Hyperallergic critic praises its design and describes an entrance corridor with a silent video collage of images of the artists’ Long Island cottage leading to galleries of artworks.
Why does the exhibition focus attention on Krasner?
The review asks how Krasner made her work and how her life with Pollock relates to it, while drawing attention to the risk that her art may be viewed mainly through her marriage.
How did Jackson Pollock die?
The review says Pollock died in a car crash while driving under the influence on August 11, 1956. Edith Metzger, a passenger in the car, also died.
When does the exhibition close?
The supplied report does not give closing dates. Check the Met’s current exhibition listing for scheduling details.
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