Whitney Biennial's 'Weird' Label Embraced by Southwest Artists Erin Jane Nelson and Sarah M. Rodriguez

New Mexico-based artists Erin Jane Nelson and Sarah M. Rodriguez, both participants in the 2026 Whitney Biennial, defend the exhibition's 'weird' characterization, arguing that it reflects the curators' focus on relationality and the politics of the everyday. The 82nd edition of the Biennial, curated by Marcela Guerrero and Drew Sawyer, opened March 8 at the Whitney Museum of American Art in New York, featuring 56 artists, duos, and collectives. Nelson and Rodriguez, friends for twelve years, discussed their experiences in Nelson's Santa Fe studio. Rodriguez's four aluminum sculptures, cast from natural objects like bones and seed pods, are displayed in a space with Hudson River views. Nelson's ceramic pinhole camera sculptures, which capture long-exposure photos, are presented on a pedestal with wall pieces. Critics have used 'weird' to describe the show, and some have cited a lack of political urgency. Rodriguez embraces the label, noting that 'weird' often refers to experiences that are initially nonverbal. Nelson counters that modesty and tenderness can be acts of defiance in an art market favoring bold, high-production work. The artists also appreciated meeting fellow Southwest artists Nani Chacon and Anna Tsouhlarakis, though they wished for more time for deeper conversations. The Biennial's theme, 'per dissonance ad consonance,' and its focus on 'unusual alliances' resonate with the artists' practices, which emphasize temporality and relationality.