Radical Looking: Newly Seeing Art With My Baby
When our son was nine and a half weeks old and the only place we had managed to take him was the pediatrician’s office,…
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From Cinematic to Static: Isa Genzken’s 75/75 Retrospective in Berlin
Why is time rarely foregrounded in our experience of sculpture? Isa Genzken intends her works to function more like “moving images than as sculptures,…
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A Clinic the Size of the World
And, like the world, a lunatic asylum is a mosaic of the passions. —An asylum doctor in the Sarthe, 1837 Upon discovering an illness,…
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Solitary: Collective Authorship and its Discontents
In Hongcheon, a county two hours east of Seoul, sits a wellness center designed to resemble a prison. Run by an organization named Happitory,…
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Reviewing the Reviews: Documenta 15
The coverage and criticism of Documenta 15 was an experience in itself, whether or not you made it to Kassel this year. This edition…
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On Whiteness
In 2017, I started working with Claudia Rankine and a collective called the Racial Imaginary Institute (TRII). For their inaugural project they were curating…
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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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Stop Guarding the Art
The Baltimore Museum of Art will open an exhibition guest-curated by 17 of the museum’s security officers next March. Titled Guarding the Art, art…
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Sanded Edges: Pierre Huyghe Turns Polite at the Serpentine
Pierre Huyghe’s work has often worn its politics lightly, preferring to focus on the exhibition as a laboratory-theater for cultural experiment. However, his latest…
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Do Androids Dream of Representative Art?
“The closer we come to the danger, the more brightly do the ways into the saving power begin to shine and the more questioning…
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