“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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We’re Alive, Pablo Is Dead
Pablo Picasso is so famous and so ubiquitous and so dead that he is easy not to think about at all. It’s as though…
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Proving the Rule: The “Exceptionalism” Problem with Art-World Labor
It’s a rainy winter day in New York amid the ongoing apocalypse and I am struggling to think about museums. I do not, any…
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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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Do You Have to Be Rich to Make It as an Artist?
On my end-of-the-year “Best Shows” list, I nominated Rachel Rose’s hypnotic Everything and More video at the Whitney Museum of American Art. In response,…
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The Lips of a Wound: Reflections on Doris Salcedo
Suture: A joining of the lips or edges of a wound or the like by stitching. The unexpectedly sensuous definition of the clinical term “stitching”…
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What On Kawara’s Analog Wisdom at the Guggenheim Has to Offer a Digital World
In 2009, @on_kawara flickered onto the scene. The Twitter account, whose profile picture is a black square, simply tweeted out once a day, “I…
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