Fantastic Emissions: Mika Rottenberg’s Labor of Mystification
“Once in a while it happens that I vomit up a bunny,” confesses the narrator of Julio Cortázar’s “Letter to a Young Lady in…
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Fake News, Bad Art
When the Oxford English Dictionary announced that its 2016 Word of the Year was post-truth, the understanding was that the political upheavals of the…
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Her Sex and Her Medium Exploded: Coming to Terms with Pipilotti Rist
A woman strides down the sidewalk in anarchic ecstasy, smashing one car window after another with an oversized red flower. The sound of glass…
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Simone Leigh’s Powerful Meditation on Race and Healthcare Suffers, Ironically, from Lack of Access
Within intimate relationships, symptoms of passive aggression range from mild irritation to buckling torpor. When the relationship is between entire populations and corrupted institutions,…
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The Renewed Focus and Acrid Targeting of Rachel Harrison at MoMA and Greene Naftali
Rachel Harrison’s acidic colors, faux-finish surfaces, and otherwise unseemly media screech like saboteurs of good taste. Unlike a certain nascent presidential candidate, however, they…
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The Pantomimed Fellowship of Nicole Eisenman’s “Al-ugh-ories”
Nicole Eisenman – beloved New York painter, now MacArthur-certified “Genius” – has just opened a show at the New Museum with the jokey title, “Al-ugh-ories.” The single-floor showing…
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The Hermetic Lyricism of Anri Sala
“When I first showed the city footage in Poughkeepsie, [artist] Liam Gillick said to me, ‘Anri, tell me the truth. Tell me that this…
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