On Weather and the Archive: Sofía Gallisá Muriente and Tony Cruz Pabón
For five months I lived with open windows in a suburb of San Juan, air ventilating through my apartment on days of both intense…
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Ritual Maintenance: Edges and Encounters with Tina Girouard
Maintenance I: Role Change, 1970 I give myself a haircut using the video system as a mirror. It is completely private, no one in…
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Disposability, Divestment, and Action: The Palestine Solidarity Movement and the State of Art in Toronto
What was the problem? I didn’t know and nobody told me and what could I do or say, anyway? Yes, I did know…
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When Women Run the World: Gail Thacker’s Queer Feminist Marvel
In late June 2024, a couple of weeks before Joe Biden withdrew his bid for reelection and Kamala Harris launched her campaign for president,…
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Kelly Lycan’s Objects in Waiting
Kelly Lycan is a photo-based installation artist who pulls apart our expectations of the photograph. Like a back door or a sprung leak, her…
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Dempsey Bob is Waking Up
A camera pans down slowly, following the progression of a fast-flowing waterfall in the Pacific Northwest. The first minute of A Wolf’s Way: Dempsey…
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On Not Lasting: Diaries, Loss, and the Art of Eva Hesse
The German American artist Eva Hesse kept meticulous diaries throughout the late sixties and seventies that account for both her personal and professional anxieties,…
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Invasion from Mars: On the Charged Personae of Shelly Mars
Shelly Mars has always been interested in what we should not talk about, and as a result, she has for the past forty years…
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Reviewing the Reviews: The 2024 Whitney Biennial
As the longest-running institutional survey of contemporary American art, the Whitney Biennial never fails to create “discourse.” Each iteration makes a claim about the…
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Goodbye to Berlin
We’re learning to live with somebody’s depression, And I don’t want to live with somebody’s depression —David Bowie, “Fantastic Voyage” When I arrived in…
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