Havensong (after and for heidi andrea restrepo rhodes and Diana SeoHyung)
Momus and the Vera List Center for Art and Politics have co-published the spring edition of Post/doc, the VLC’s biannual publishing series for discursive,…
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가는 길: Decision to Leave / On Leaving / Leaving
Momus and the Vera List Center for Art and Politics have co-published the spring edition of Post/doc, the VLC’s biannual publishing series for discursive,…
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On Seher Shah, Expanding Home, and Listening to Delhi
Every time I visit Delhi from Colombo, which has been my primary home for three decades, I fight sensory overwhelm caused by the fragility…
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For Pleasure and Pictures: Robert Andy Coombs, His Critics, and the Language of Ableism
Sometimes the photographer Robert Andy Coombs operates his camera’s shutter with his mouth. Sometimes, he plays on the much-loved trope of self-portraiture, keeping the…
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Remembering Kelly Mark
The artist Kelly Mark, prolific and beloved, left us on February 21, 2025. In spending time with her art these past weeks, I have…
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The Boy in the Bathroom: Tom Burr’s Torrington Project
It was with a frisson of anticipatory delight that I crossed the threshold of Tom Burr’s warehouse in Connecticut, two hours northeast of New…
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Lineage and Light: Rose Marie Cromwell’s “A Geological Survey”
In what ways is a mother like a tree? A mother—a caregiver, really, because lineages are built not merely by blood and biology but…
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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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