Embraced by an Amniotic Earth: Delcy Morelos at Dia Chelsea
In El abrazo, Delcy Morelos’s site-specific solo exhibition at Dia Chelsea in New York, two earthworks swell against the perimeters of two discrete, darkened…
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“A Multiculti Blitzkrieg”: On the Ascendance of the Curator of Color
Yoshio Taniguchi’s 2004 expansion of the Museum of Modern Art integrated the glass buildings on either side of the museum so that when you…
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The Polyphonous Calls for Land (and Land Back) of Manuel Axel Strain
Among the works installed by Manuel Axel Strain in Unit 17’s florist turned gallery space were: A stolen white-picket fence hemmed in by a…
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Evidence of Things Seen*: Capture and Control in India
I remember the day I first attempted to get my Aadhaar identification card made ten years ago. Every resident in my housing complex had…
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On the Fear “That There Wouldn’t be Another Project”: A Conversation with Lisa Hsiao Chen
As soon as I heard about Lisa Hsiao Chen’s novel Activities of Daily Living, I wanted something from it. I had been searching Publishers…
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How Does a Collective End? An Interview with Robert Gabris and Ľuboš Kotlár
It is the middle of the summer in Prague and the art nouveau Šaloun Villa’s glass ceiling and glass wall recalls a greenhouse. The…
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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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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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“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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