Plant People
What is it about the threat of impending death that drives us into the arms of Mother Nature? In 2020, there was a curious…
Losing Ground in Singapore’s State-Curated Digital Age
The Substation, a leading arts center in Singapore, announced its permanent closure in March after its thirty-year stint as an independent home for the…
Season 5 Episode 2: Harry Dodge
In this episode, artist Harry Dodge reads from My Meteorite, or Without the Random There Can Be No New Thing (Penguin Press, 2020). Dodge, a…
Don’t Look Back: Renée Green’s Present Tense
Renée Green’s latest exhibition Inevitable Distances unfolds across two locations, the KW Institute of Contemporary Art and the daadgalerie, both of which bill the…
Across This Fraught Place: Survivance at the 2021 Texas Biennial
In one part of Tomashi Jackson’s video Vibrating Boundaries (Law of the Land) (Self Portrait as Tatyana, Dajerria, & Sandra) (2015), we hear audio…
Season 5 Episode 1: Emmanuel Iduma
In the first episode of Season 5, Lauren Wetmore speaks with Nigerian art writer Emmanuel Iduma, who reads from “Mileage from Here: Nine…
An Aesthetic of Enough
This month, COP26, the UN’s near-annual climate conference, gathered global heads of state to set a new round of targets to limit global emissions…
Situating Great Ocean Art in Canadian Museums
I come from the villages of Leulumoega, Siʻumu, Salelologa and Āpia in the western islands of the Sāmoan archipelago. My family also comes from…
The Capaciousness of Blackness: An Interview with Dawit. L. Petros
Not very long ago I read Toni Morrison’s Home. This, her tenth novel, chronicles the wayward journey of a young war veteran, Frank Money,…
Stop Guarding the Art
The Baltimore Museum of Art will open an exhibition guest-curated by 17 of the museum’s security officers next March. Titled Guarding the Art, art…
More than Not: LACMA’s “Not I” and the Necessity of History
Not I: Throwing Voices (1500 BCE–2020 CE), a recent exhibition at LACMA, was in thrall to its ideas. Though ventriloquism was its central theme,…
A Love Letter in Louisville: Breonna Taylor at the Speed Museum
“It’s like fucking vaporware.” I was on the phone with Kristina, Burnaway’s editor at large in New Orleans. We had been searching for days…
Correcting for the Bawdy Rage of Paula Rego
The New York Times review of Paula Rego’s Tate Britain retrospective, published on July 7, begins: “Paula Rego is the kind of artist who paints a…
Cameron Rowland’s Property Relations
Cameron Rowland uses the language of conceptual art to critique the art world’s imbrication in histories of slavery, redlining, and policing. In particular, Rowland’s…
Jill Mulleady’s Twilight Hour
Last year, during New York City’s extended lockdown, one of the few works still on public display was a mural hung outside the Whitney…
Season 4 Episode 9: Kristian Vistrup Madsen
In the penultimate episode of Season 4 – across which Momus: The Podcast has been engaging writers on the genesis and reception of a…