As opposed to the 2019 Whitney Biennial, which proved to be “the country’s most argued about event,” this year’s Biennial is quietly reflective. Acknowledging the last two turbulent years, curators David Breslin and Adrienne Edwards have decided to focus on the process of grief, paying special attention to communities that were suffering long before the pandemic, namely the disabled, the poor, racial minorities, and victims of colonialism. The show is titled “Quiet as It’s Kept,” and many of the works are placed in galleries with darkened walls. For the first time, the roster includes a large number of non-white artists, including emerging talents Raven Chacon and Andrew Roberts. —Elena Clavarino