The Capaciousness of Blackness: An Interview with Dawit. L. Petros
Not very long ago I read Toni Morrison’s Home. This, her tenth novel, chronicles the wayward journey of a young war veteran, Frank Money,…
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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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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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A Love Letter in Louisville: Breonna Taylor at the Speed Museum
“It’s like fucking vaporware.” I was on the phone with Kristina, Burnaway’s editor at large in New Orleans. We had been searching for days…
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Correcting for the Bawdy Rage of Paula Rego
The New York Times review of Paula Rego’s Tate Britain retrospective, published on July 7, begins: “Paula Rego is the kind of artist who paints a…
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Cameron Rowland’s Property Relations
Cameron Rowland uses the language of conceptual art to critique the art world’s imbrication in histories of slavery, redlining, and policing. In particular, Rowland’s…
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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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Season 4 Episode 9: Kristian Vistrup Madsen
In the penultimate episode of Season 4 – across which Momus: The Podcast has been engaging writers on the genesis and reception of a…
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Imperfect Archives: Lilian Leung and Linda Zhang Virtually Capture Eroding Chinatowns
Next to the yellow lettering of Mother’s Dumplings, artist Lilian Leung pulls out her phone and begins circling, taking images from as many different…
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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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