How To Write a Review
Go see an exhibition at a museum, a gallery, a studio. See a show skywritten above the arroyo, tucked under a bridge, in virtual…
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Stay on It: Maintaining Julius Eastman’s Radical Desire
For months, a Times article about Julius Eastman accrued dust in my New Jersey apartment. It sat dormant within an increasingly oppressive stack of back issues,…
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Where the Bodies Go: Lili Huston-Herterich’s Poem to the Power of Community
Abrasion and Collision: On History’s Steps with Robert Rauschenberg, at the Tate
Three quarters of a lifetime ago, in the early spring of 1964, I saw an exhibition at the Whitechapel Art Gallery. Who exactly was…
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The Double-Bind in Raqs Media Collective’s Institutional Critique
Longing we say, because desire is full of endless distances …
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Forcing the Fortuitous: Tacita Dean Searches for Luck
Nothing is more frightening than not knowing where you’re going, but then again nothing can be more satisfying than finding you’ve arrived somewhere without…
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What Is an Art Fair Doing Asking “What Is To Be Done?”
Tented within Manhattan’s industrial piers, and under a cold sweep of wind, the Armory Art Fair rounded out its latest edition (under new director,…
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As Both Dancer and Texter: Julien Prévieux Choreographs Our Changing Bodies
Someone once told me that humans are evolving more flexible thumbs due to our growing propensity for text messaging. I know that this is…
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“A Self-Implicated Search”: Reviewing Robert Linsley’s Final Book
At an artist talk several years ago, I asked Robert Linsley to explain why artworks should be treated as human beings. Seemingly embarrassed, he…
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The Pulsing Body Wants of Jasmine Reimer
Like teeth crowding a dark mouth, Jasmine Reimer’s Small Obstructions pushes crude objects up through a dusky space – and then pocks them with…
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