Against Tidy Memory: Anti-Fascist Memorials and the Horror of Kitsch
Like a catchy Schlager tune, rightwing populism in Germany has matured into a countrywide plague. Historical guilt, which had until recently stalled the nationalism…
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Privilege as Political Tool: Tania Bruguera on the Usefulness of Art
Because the question of art’s utility isn’t new, Tania Bruguera, the Cuban artist who’s often been referred to as a “dissident” and “political activist,”…
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Real Bodies: A Tribute to Linda Nochlin
In the summer of 1994, the end of my second year at the IFA and Linda Nochlin’s first, she came to stay with my…
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Seeking a More Intimate Fair with /edition’s Paul Butler
Toronto’s /edition art-book fair arrives, in its sophomore year, at an energizing time for art publishing. The event drew over 8,000 visitors last year…
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Fake News, Bad Art
When the Oxford English Dictionary announced that its 2016 Word of the Year was post-truth, the understanding was that the political upheavals of the…
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For Common and Decent Things: Resisting Co-opted “Collaboration”
It’s more than working together. “Collaboration” has enjoyed a distinct currency in the twenty-first century as a buzzword that sailed from the open-office playgrounds…
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Spoiled Roots: Mark Bradford and the Erasure of Community
Artists tasked with filling the US Pavilion at the Venice Biennale have often poked at its resemblance to Monticello, the plantation designed by the…
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Momus Best-Of Volume 3: 2016-17
I confess to experiencing regular doubt, lately, about what art criticism can contribute to the fray when the conversations we need to be having,…
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Free to Care Less: On the Cynicism of “Starting a Conversation”
This year’s spate of artworld controversies surrounding cultural appropriation and the ethics of representation suggests that we should sharpen our vocabulary, and find precise…
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Place, Space, or Backdrop: The Dilemma of Desert X, the “Coachella Biennial”
Against this summer’s alignment of Documenta 14, the Venice Biennale, and Skulptur Projekte Münster, the first edition of the Desert X biennial seemed to…
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