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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Dataspace: From the Observed Object to the Participating Subject
The first time I visited Laboratorio Arte Alameda (LAA), a house of creative electronic experimentation in the heart of Mexico City, I didn’t know…
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The Art of Accumulation in an Age of Decluttering
My childhood home in California is filled with antiques. Fragile Han Dynasty ceramics, dirt-encrusted Chinese Buddhist sculptures, various porcelain, lacquer boxes, and snuff bottles…
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June Clark’s Perseverance of Memory
June Clark’s Tubman (2023) is a large, mixed-media sculpture that captivates a glance immediately. Vertical strips of red, blue, and white yarn are bound…
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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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Working It
In an interview about her 2003 performance Untitled, in which she had sex with an art collector on camera for a sum initially reported…
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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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Bad Reviews
I took a community-college workshop five years ago with Kirk Stoller, an artist whose work I could look at forever. Kirk used carpentry tailings…
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Momus & Forge Project Announce Participants of “Estuaries”
Forge Project and Momus are pleased to announce the participants in Estuaries: An International Indigenous Art Criticism Residency, which will be led by Dr. Léuli Eshrāghi (Sāmoa)…
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Finding One Another in Misrecognition: Summer Kim Lee Meets Catalina Ouyang
While I had followed their work for some time, I did not meet Catalina Ouyang until last fall, at a symposium at Stanford University…
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