If I could have an ‘insider’s’ perspective on one Whitney Biennial from the history that precedes my work at the museum, it would be that of 1993. Jerry really nails the exhibition’s seminal influence in On ‘93 in Art, his lastest piece for New York Magazine. This admission button, a project by Daniel J. Martinez, is still floating around the museum’s offices; I often spot (read: covet) them in the spaces of those who have been here much longer than I. This is what institutional history looks like.