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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Azza El Siddique Summons Life Beyond Death
Sometimes called an alchemist, Azza El Siddique treats the act of making as just the beginning of a process that the artwork carries on….
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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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The New World Looks Like the Old One: DYOR at Kunsthalle Zürich
A few years ago, I saw the same graffiti tag in Berlin and later in Athens: “Take acid, buy crypto,” it read, as if…
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Never Risky: Seeking New Life at the Singapore Biennale
On a sweltering afternoon in January, after a short, bouncy, and very pleasant ride aboard a tiny pocket trawler, I found myself on Lazarus…
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The Preserving Machine of Matthias Groebel
In 1980s West Germany, when public-access channels first began streaming into living rooms, Matthias Groebel started building a painting machine to compete with the…
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Out of Necessity and Out of Love: Andrea Fatona’s 30-Year Tribute to Black Canadian Women
In 1989, amid fevered debates about multiculturalism and national identity, a group of Black women artists came together to organize an exhibition featuring artistic…
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