This bustling exhibition showcases works from the nineteen-sixties and early seventies, which she acquired on her travels to India, Iran, and Turkey. Grey was drawn to artists who, as she put it, “were breaking with the past to cope with the present” while maintaining their ties to tradition, whether this meant bridging local and global aesthetics or resisting Western influences.
Andy Warhol was among the celebrities Tseng importuned at the Met, and there is something of Warhol’s nineteen-sixties self-invention in Tseng’s cultivation of an unvarying image, a mask that made the most of his outsider station. But Tseng’s art is emphatically of the eighties. He is best known for—that is, a little obscured by—his documenting, in more than twenty-five thousand photographs, the work of his friend Keith Haring. (One such photo, and more of Tseng’s work, is currently on view as part of the exhibit “Art after Stonewall, 1969–1989,” at the Grey Art Gallery, at N.Y.U.)