Spaces of Doubt: Ursula Biemann at MUAC
Ursula Biemann has been challenging, and excavating, how knowledge is produced for thirty years now, but in the past decade she has turned her…
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Divya Mehra, Stirring and Whirring Colonialism’s Ghosts
The whirring motor sound emanates from an unusual contraption. A linear aluminum-rail system is attached to the wall, a vertical glint of silver adrift…
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Unplugged Games: Poetry as Resistance in Yanko González Cangas
Did you ever cheat on a test when you were in school? I didn’t. I was afraid of getting caught and lacked the ingenuity…
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Daddy Says: Ed Ruscha in Other Words
Ed Ruscha is a great American art daddy, such that he has been called “the deadpan laureate of American art,” “the great American Pop…
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Sidestepping Violence: The German Pavilion’s Failure to See the Present in the Past
At first glance, the earth spilling out from behind the tall, squared columns of the German pavilion’s facade appears to be a pile of…
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Peter Hujar’s Still Life in Motion
There is a photograph installed near the end of Peter Hujar: Rialto at New York’s Ukrainian Museum that still holds my attention. It is…
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Reviewing the Reviews: The 2024 Whitney Biennial
As the longest-running institutional survey of contemporary American art, the Whitney Biennial never fails to create “discourse.” Each iteration makes a claim about the…
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Paul Chan’s “Breathers” Turns Away
Paul Chan’s exhibition Breathers, now at the Contemporary Art Museum St. Louis after traveling from Minneapolis’s Walker Art Center, plays with ideas of rest,…
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Goodbye to Berlin
We’re learning to live with somebody’s depression, And I don’t want to live with somebody’s depression —David Bowie, “Fantastic Voyage” When I arrived in…
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Romantic and Brawling: On Four Chicago Artists
Chicago has never really recovered from Imagism. That local explosion—whose blast radius stretched from roughly the late 1940s through the mid-1970s—gave the city’s art…
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