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Ben Davis

By Momus

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…

Features

Rearrange: Torkwase Dyson and Black Feminist Breathing

By Camille Bacon

Spending time in a museum after it closes to the public holds a certain wonder. There is something invigorating about turning up where you…

Features

The Final Fart: A Meditation on Hannah Wilke’s Last Work

By Nora Rosenthal

Hannah Wilke knew what a death mask was. She knew that a death mask is an event, not an object. She knew that the…

Features, Reviews

Against Nations

By Jayne Wilkinson

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…

Features

Akram Zaatari: Dance to the End of Love

By Vijay Masharani

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….

Reviews

Wayne Salmon’s Portraits of Black Belonging in Kensington Market

By Neil Price

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

By Momus

“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…

Features, Reviews

Where Do Dreams Live?

By Siera Hyte

In Misdemeanor Dream, a new play presented at La MaMa by the performance collective Spiderwoman Theater, earlier this spring, Indigenous fairies sing, dance, tell…

Features

Hypoxia and Hope

By Kamayani Sharma

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…

Reviews

Mimi Ọnụọha: Making Data Matter

By Constanza Salazar

Data is often thought of as immaterial, floating in the digital sphere, and evasive. It slips away from our fingertips as we scroll, like,…

Features

The Artist Is the Void

By Elisabeth Nicula

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,…

Features

Mary Mattingly’s Way to Adapt

By Michael McCanne

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…

Features

Proving the Rule: The “Exceptionalism” Problem with Art-World Labor

By Dana Kopel

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…

Features

Colossal Harbingers: The Monumentalism of Art About Climate Change

By Hua Xi

At the same time as the earth’s atmosphere grows more strange, giant anthropomorphic sculptures have been rising eerily out of the landscape. In the…

Rahel Aima

By Momus

This month, Sky Goodden speaks with Rahel Aima, a prolific critic, art writer, and Associate Editor at Momus. We focus on a text Aima published in Momus, “Depleting…

Reviews

A Lapidary Grief: Sheila Heti’s “Pure Colour” Dares Her Critics

By Jocelyn Parr

Sheila Heti’s most recent novel, Pure Colour, is a dream-like, funny, soulful, hard-to-wrangle meditation on what it means to live as someone else’s creation,…

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