An Aesthetic of Enough
This month, COP26, the UN’s near-annual climate conference, gathered global heads of state to set a new round of targets to limit global emissions…
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More than Not: LACMA’s “Not I” and the Necessity of History
Not I: Throwing Voices (1500 BCE–2020 CE), a recent exhibition at LACMA, was in thrall to its ideas. Though ventriloquism was its central theme,…
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Jill Mulleady’s Twilight Hour
Last year, during New York City’s extended lockdown, one of the few works still on public display was a mural hung outside the Whitney…
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A Speculative Mourning: Iris Häussler’s Lament for Print Media
1991 was marked by several landmark global events: the USSR disbanded, formally ending the Cold War; Tim Berners-Lee announced the World Wide Web and…
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Haubitz+Zoche Frames India’s Iconic Movie Theaters—and Absents Them
The brightly-colored Theatre Annamalai in Madurai, a temple town in Tamil Nadu, looks like the inside of a candy shop. Set against the pale…
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Ambivalent Transparency: Artists Go on and “Off the Record” at Guggenheim
In the spring of 1971, the Guggenheim was set to open a solo exhibition from German conceptualist Hans Haacke. It included two installations of…
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Anna Mayer Reconstitutes Loss in Houston
Anna Mayer’s first solo exhibition in Houston, Forms of Inheritance, opens with a photographic mural printed on cotton canvas and splayed across a wall…
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Ron Athey’s “Far-Right Flirtations”
I have never been to a Ron Athey performance. I never went to any of the clubs he frequented; I’ve never met him in…
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Imagination Over Submission: Luis Camnitzer’s Liberatory Art Education
Over the summer of 2020, I was continually surprised by the versatility of cars. Amid mutual aid mobilizing and uprisings against police – each…
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With No Type of Story: Touring the Untied Mind of Pippa Garner
In 1978, the artist Pippa Garner wrote a list of “Opinions and Comments.” Among them is one that reads, “People should name their brains,”…
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