How Does a Collective End? An Interview with Robert Gabris and Ľuboš Kotlár
It is the middle of the summer in Prague and the art nouveau Šaloun Villa’s glass ceiling and glass wall recalls a greenhouse. The…
Relocating Trauma at the Venice Biennale
During my visit to the 59th Venice Biennale, I found myself in the Venetian ghetto twice. The first was to celebrate Shabbat with an…
“Name What is Unnamed”: Geocinema on Diarying the War in Ukraine
The Making of Earths is a solo presentation by the research-based filmmaking collective Geocinema (Asia Bazdyrieva and Solveig Suess), presented at the Dr. Éva…
Ben Davis
In the introduction to Ben Davis’s new book, a bracing and perspectival collection of essays titled Art in the After-Culture (Haymarket Books), he reflects…
Rearrange: Torkwase Dyson and Black Feminist Breathing
Spending time in a museum after it closes to the public holds a certain wonder. There is something invigorating about turning up where you…
The Final Fart: A Meditation on Hannah Wilke’s Last Work
Hannah Wilke knew what a death mask was. She knew that a death mask is an event, not an object. She knew that the…
Against Nations
At the 59th Venice Biennale, many of the stand-out pavilions were those that contested the pavilion structure itself. Consider Roma artist Małgorzata Mirga-Tas’s lustrous…
Akram Zaatari: Dance to the End of Love
Dance to the End of Love is a four-channel polyphonic, visual fantasia composed of found YouTube footage of young men in the MENA region….
Wayne Salmon’s Portraits of Black Belonging in Kensington Market
In Kensington Market: Meditations on Home, photographer Wayne Salmon continues his decades-long rumination on the beauty of Black life within the wake of slavery….
Arushi Vats
“We are post-purity,” observes Arushi Vats, a Delhi-based writer and inaugural fellow of the Momus/Eyebeam Critical Writing Fellowship. Rooted in field research and expanded…
Where Do Dreams Live?
In Misdemeanor Dream, a new play presented at La MaMa by the performance collective Spiderwoman Theater, earlier this spring, Indigenous fairies sing, dance, tell…
Hypoxia and Hope
Last April, in the fog of the second wave of the COVID-19 pandemic, as the bodies piled up, India heaved with hate. The Delta…
Mimi Ọnụọha: Making Data Matter
Data is often thought of as immaterial, floating in the digital sphere, and evasive. It slips away from our fingertips as we scroll, like,…
The Artist Is the Void
I didn’t expect to hate Michael Heizer’s seminal earthwork Double Negative when I visited it in 2017. I thought it would be a marvel,…
Mary Mattingly’s Way to Adapt
On an unseasonably warm day in mid-December, I took a ferry from lower Manhattan on the short trip across to Governors Island. I was…
Proving the Rule: The “Exceptionalism” Problem with Art-World Labor
It’s a rainy winter day in New York amid the ongoing apocalypse and I am struggling to think about museums. I do not, any…