Roberta Smith’s review of Documenta 13 in The New York Times is largely positive, though it focuses on how big the show is and since it is so big, inevitably, there were going to be some things she wasn’t going to like.
Don’t let this give you the wrong impression about her review but because this is really what you want to see anyway, here’s a paragraph about things that were not the best:
Beyond the polemical intensity of the Fridericianum, the show loses coherence and often subsides into dross. There are terrible low points, like “Limited Art Project,” by the Chinese artist Yan Lei, a bit of endgame cynicism involving 360 fuzzily dead-in-the-water Photo Realist canvases that will be gradually converted to monochromes: Each day a few are spray-painted at a car factory near Kassel. They fill a looming space in the Documenta Halle, where their dreariness is somewhat ameliorated by a nearby gallery devoted to the small, stubbornly radiant abstractions that the Lebanese-American poet and writer Etel Adnan has made since the late 1950s.
The dog run pictured above is not mentioned in the review, but you have to think that she at least had mixed feelings about it.