“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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Reviewing the Reviews: Documenta 15
The coverage and criticism of Documenta 15 was an experience in itself, whether or not you made it to Kassel this year. This edition…
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Art and Labor: Writers Bloc
It was an ordinary Friday evening in September, perhaps already giving way to Saturday morning bleariness, when I turned to my partner half asleep and…
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How Protest Works Now: Understanding “The Tear Gas Biennial” and its Historic Effect
In the pantheon of texts about art, there are very, very few that have had the impact of “The Tear Gas Biennial.” Published online…
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“We Need More Voices”: Introducing the Momus Emerging Critics Residency
In late August 2019, Momus will be launching its inaugural Momus Emerging Critics Residency, in collaboration with Montreal’s Concordia University. We’re incredibly excited to…
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What to Do About Klaus: How Arts Communities Assert Their Agency
As first impressions go, it wasn’t ideal. On the week he was announced as MOCA Los Angeles’s new director, Klaus Biesenbach managed to alienate…
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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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Place, Space, or Backdrop: The Dilemma of Desert X, the “Coachella Biennial”
Against this summer’s alignment of Documenta 14, the Venice Biennale, and Skulptur Projekte Münster, the first edition of the Desert X biennial seemed to…
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The State of the Artworld, Explained
The Metropolitan Museum of Art in Manhattan is opening its new contemporary art initiative, taking over the old Whitney Museum of American Art’s building…
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