Pac Pobric is an editor at the Metropolitan Museum of Art, where he works on the Heilbrunn Timeline of Art History.

He is a contributor to the Village Voice, the Brooklyn Rail, and The Art Newspaper, where he was formerly the Exhibitions editor. He has written catalogue essays on Minimalism and its legacy for the Mnuchin gallery and on Sean Scully’s recent work for Cheim & Read.

Pobric has an M.A. in Art History from Hunter College, where he studied with William C. Agee and wrote about Ellsworth Kelly’s years in New York. He lives in the Bronx.

Contact: pac [at]

Latest articles:

Irving Sandler: an obituary
Why people like to look at people
On Kiki Smith and the Jewish tradition
Review: Robert Gober at Matthew Marks
Decadent decay: on Cyprien Gaillard
On Danh Vo at the Guggenheim
Subtle disorientations: on Peter Campus
On Outliers and American Vanguard Art at the National Gallery
Straining for laughter: on Nathaniel Mellors
Zurbarán, Jacob, and the Twelve Tribes of Israel at the Frick Collection
Strangely unfamiliar: on Katharina Fritsch
Small wonders: on Victoria Gitman
Time to look: on Laura Owens at the Whitney
What Gordon Matta-Clark learned in the Bronx

Selected older articles:
Why the process of painting never ends: on Brice Marden
On Walter Swennen at Gladstone Gallery
On David Smith at Storm King
Smoke on the water: on Andreas Schulze
That poor sap dog: on William Wegman
How New York made Mondrian truly Modern
The way she was: on Jo Spence
The persistent disbeliever: on Donald Judd’s writings
A brief history of Constructivism
“Art too is just a way of living”: on Rilke and Rodin
Loosely hanging appendages: on Rachel Harrison
The false Gods of Dada: on the perils of eclecticism
Loose language: on Liam Gillick’s Industry and Intelligence
Against allegory: on Benjamin Buchloh and Danh Vo
A cerebral matter: a profile of Eric Kandel
On the Ellsworth Kelly catalogue raisonné
On artificial darkness in art and theatre
Frank Stella’s decline
Ellsworth Kelly: an obituary
When mourning becomes its own reward: on Doris Salcedo
Beautiful brutality: the splendors of violence at the Venice Biennale
Inside an unquiet mind: on Lawrence Alloway’s failure
Sean Scully: the wanderer
Ellsworth Kelly: Looking backwards, moving forwards
A brief history of artists as curators
Sturtevant’s provincialism
The same, but different: a profile of Glenn Ligon
Review: Julian Pretto Gallery