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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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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A Lapidary Grief: Sheila Heti’s “Pure Colour” Dares Her Critics
Sheila Heti’s most recent novel, Pure Colour, is a dream-like, funny, soulful, hard-to-wrangle meditation on what it means to live as someone else’s creation,…
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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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