Jack Whitten, Human Xerox Machine
Tilt your ear to a Jack Whitten painting and you might hear music. “You gotta be able to think like John Coltrane to do…
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“I Always Wanted to Participate”: In Conversation with Vijay Masharani
At three intervals throughout Vijay Masharani’s eighteen-minute video Good Attack (2021), the camera fixates on a sign hanging in a pet store above the…
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A Note on Omission: Navigating Institutional Censorship and the Need for Repair
When I used the term “Muslim body” in my curatorial note* for an exhibition in New Delhi last year, I did not anticipate the…
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The Close-Up Reveals Nothing: How Deborah-Joyce Holman Complicates Interiority
A soft, warm light morphs into a shadow of a woman’s braided hair on the back of her neck. There is the sound of…
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A Model for Risk-Taking: Arthur Tress’s Grotesque Allegory of a Presidential Cabinet
“What do you see when you look at pictures of President Trump’s cabinet?” asks writer David French in an interactive web exclusive that ran…
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End of the World: Revisiting a Lost Future at Spiral Jetty
They arrive at my Salt Lake City apartment in the middle of the afternoon on the tenth of September, 2016, and we’re on the…
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To Ensure the Record Can Never Be Whitewashed: Honoring Nona Faustine
Nona Faustine, who passed away this March, was magnificent—a valiant beacon of light in a world often cruel and dismissive of Black women’s histories…
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The High Stakes of Nancy Holt’s Systems
Systems call to mind the grandiose, sweeping, and entrenched, for better or worse. Systems of belief, systems theory, the prison system … By comparison,…
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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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