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The Metropolitan Museum of Art’s exhibition “Krasner and Pollock: Past Continuous” presents works by Lee Krasner and Jackson Pollock alongside imagery connected to their life together. A Hyperallergic review praises the installation and interprets the show as shifting attention toward Krasner’s artistic work and the unequal attention paid to the couple. The source does not provide the exhibition’s dates or a full checklist of works.
The review describes a narrow entry corridor displaying a silent video collage of film and photographs of Krasner and Pollock’s Long Island cottage. Visitors then enter galleries containing artworks. Hyperallergic identifies works by Krasner including “Re-Echo” (1957) and “Combat” (1965), both oil paintings. The source does not give a complete list of works or the exhibition’s dates.
The critic calls the show “one of the most gorgeously designed and ingeniously installed exhibitions” in the museum’s history, while emphasizing what the review sees as its direct focus: the paintings and the couple’s relationship. The report notes that the title’s phrase “Past Continuous” suggests questions about memory, but says the exhibition’s emotional and historical subject is apparent to visitors.
The review places particular emphasis on Krasner’s artistic practice and survival after Pollock’s death in a car crash on August 11, 1956. It says Pollock was driving under the influence and notes that passenger Edith Metzger also died. Those details are presented in the review; the supplied source offers no additional records or independent reporting about the crash.
Krasner’s Work Takes the Foreground
The exhibition’s subject matters because Krasner’s reputation has often been discussed in relation to Pollock’s, whose fame, the reviewer writes, briefly made him one of America’s best-known artists. Pairing their work and shared history gives viewers an opportunity to consider Krasner not only as Pollock’s wife, but as an artist whose work developed through a life shaped by that relationship.
That framing is the reviewer’s interpretation rather than a stated curatorial position in the supplied material. Still, the installation offers a public setting for looking at Krasner’s paintings alongside the couple’s history, and for asking how biography can shape the way audiences see an artist’s work. The review also records a visitor’s comment about Krasner’s appearance, using the incident to point to the gendered judgments that can intrude on how women artists are discussed.
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A Marriage Framing the Exhibition
Krasner and Pollock were both artists, and the exhibition links their work with photographs and film associated with their home on Long Island. The review treats the marriage as a central part of how the show is likely to be received, while cautioning that outsiders cannot claim complete insight into another couple’s private life. It describes relationships and their aftermath as open to changing interpretations rather than as a single, settled story.
The account also recalls Pollock’s fatal car crash on August 11, 1956. Krasner was not the passenger identified in the crash account: the review names Edith Metzger as a passenger who died. Krasner’s later paintings, including “Re-Echo,” are presented in the review as part of the exhibition’s artistic focus, not as proof of a single explanation for how she responded to the loss.
““one of the most gorgeously designed and ingeniously installed exhibitions in the museum’s history””
— Hyperallergic reviewer
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Dates and Curatorial Details Missing
The supplied report does not state when the exhibition opened or closes, how many works it includes, or whether the Met has published a curatorial statement responding to the review’s interpretation. It also does not provide comments from the museum or from Krasner and Pollock scholars. The review’s descriptions of the show’s design and meaning should be understood as the critic’s assessment, not as an official account of the museum’s intentions.
The source likewise does not establish how visitors generally respond to the exhibition or offer attendance figures. Its account of the visitor’s remark is one incident reported by the critic, not evidence of a broader pattern among museumgoers.
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Check the Met’s Current Listing
Readers seeking practical details, including current viewing dates and access information, should consult the Metropolitan Museum of Art’s exhibition listing. The supplied source does not establish whether the show remains on view or identify any related public programs. Further reporting would be needed to confirm the exhibition’s schedule, full checklist and the museum’s response to the review’s reading of its presentation.
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Key Questions
What is “Krasner and Pollock: Past Continuous”?
It is a Metropolitan Museum of Art exhibition pairing work by Lee Krasner and Jackson Pollock with images related to their life together, according to the Hyperallergic report.
Which Krasner paintings does the report identify?
The review identifies “Re-Echo” (1957) and “Combat” (1965), both oil paintings. It does not provide a full checklist.
What does the review say about the installation?
The Hyperallergic critic praises the show’s design and describes an entry corridor with a silent video collage of photographs and film related to the artists’ Long Island cottage.
When can visitors see the exhibition?
The supplied source does not give the exhibition’s opening or closing dates. Check the Met’s current exhibition listing for schedule information.
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