Hypoxia and Hope
Last April, in the fog of the second wave of the COVID-19 pandemic, as the bodies piled up, India heaved with hate. The Delta…
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The Artist Is the Void
I didn’t expect to hate Michael Heizer’s seminal earthwork Double Negative when I visited it in 2017. I thought it would be a marvel,…
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Mary Mattingly’s Way to Adapt
On an unseasonably warm day in mid-December, I took a ferry from lower Manhattan on the short trip across to Governors Island. I was…
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Proving the Rule: The “Exceptionalism” Problem with Art-World Labor
It’s a rainy winter day in New York amid the ongoing apocalypse and I am struggling to think about museums. I do not, any…
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Colossal Harbingers: The Monumentalism of Art About Climate Change
At the same time as the earth’s atmosphere grows more strange, giant anthropomorphic sculptures have been rising eerily out of the landscape. In the…
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“I Wish We Could Reach for New Language”: An Interview with Sky Goodden
Sky Goodden is the founding publisher and editor of Momus, an online art publication based in Canada. Since its founding in 2014 Momus has…
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An Ascetic Pose: Avery Singer’s New Refusal
Before I saw Avery Singer’s paintings in Reality Ender, her first solo show at Hauser & Wirth in New York, I didn’t think it…
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Plague Medicine: Reading Avocado Ibuprofen in a Pandemic
Over the last several years, Jaakko Pallasvuo’s Instagram comics (produced under the handle @avocado_ibuprofen) have become a minor phenomenon. Beloved among art world participants,…
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“It’s All About Desire”: hannah baer and Erica Dawn Lyle Talk Trans Freedom and Joy
Within the flood of new trans memoirs and books offering their definitive takes on trans theory in the past few years, I gratefully found…
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On Whiteness
In 2017, I started working with Claudia Rankine and a collective called the Racial Imaginary Institute (TRII). For their inaugural project they were curating…
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