Fondation Louis Vuitton in Paris is currently hosting a monumental Gerhard Richter retrospective, featuring 275 works produced over the course of the artist’s six-decade career. Though Richter, now ninety-three, stopped painting in 2017, the artist has continued to make art; the retrospective includes Richter’s recent works on paper, some dating to just last year. In celebration of the exhibition, Artforum is revisiting the magazine’s January 2002 issue, which features a detail of Richter’s painting 863-1, Moritz, 2000, on the cover. In its pages, Tom Holert speaks with Robert Storr, who was then organizing Richter’s first full-scale American retrospective, at New York’s Museum of Modern Art, about his approach to curating the show.
 
“In some ways the issue that critics and curators have to deal with is how to see Richter behind the camouflage he has created and at the same time to respect the fact that the camouflage is there for a reason,” Storr tells Holert. “There is far more about who Richter is in Richter’s paintings than there is about who Baselitz is in Baselitz’s paintings, even though Baselitz’s paintings have actors and alter egos.”
—The editors

“In this Artforum Dossier, we have gathered texts that focus on artistic practices that reflexively engage with the specific materiality of celluloid—the transparent plastic that served as the most common substrate for moving images before the advent of analog and digital video. These practices typically focus less on storytelling than on the aesthetic possibilities of directly manipulating celluloid film stock, creating sequences of celluloid film frames, or running celluloid film strips through projectors. The results usually emphasize our perceptual experience of light, color, sound, pattern, movement, and space—that is, those elements that provide the language of all moving-image experiences.”
—Tina Rivers Ryan