The Final Fart: A Meditation on Hannah Wilke’s Last Work
Hannah Wilke knew what a death mask was. She knew that a death mask is an event, not an object. She knew that the…
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Against Nations
At the 59th Venice Biennale, many of the stand-out pavilions were those that contested the pavilion structure itself. Consider Roma artist Małgorzata Mirga-Tas’s lustrous…
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Akram Zaatari: Dance to the End of Love
Dance to the End of Love is a four-channel polyphonic, visual fantasia composed of found YouTube footage of young men in the MENA region….
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Wayne Salmon’s Portraits of Black Belonging in Kensington Market
In Kensington Market: Meditations on Home, photographer Wayne Salmon continues his decades-long rumination on the beauty of Black life within the wake of slavery….
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Where Do Dreams Live?
In Misdemeanor Dream, a new play presented at La MaMa by the performance collective Spiderwoman Theater, earlier this spring, Indigenous fairies sing, dance, tell…
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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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Mimi Ọnụọha: Making Data Matter
Data is often thought of as immaterial, floating in the digital sphere, and evasive. It slips away from our fingertips as we scroll, like,…
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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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