Season 4 Episode 3: Tausif Noor on “Hand in Glove”
“Like writing, fisting is both a replicable skill and a rarefied art form.” This brachioproctic line begins writer Tausif Noor’s “Hand In Glove” (Artforum, 12 April…
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The Faces That You Meet: Huma Bhabha’s Close Encounters
The works of Huma Bhabha affect a strange pareidolia: they lure, and then repel, dissipating the familiarity they promise. The Karachi-born artist mines the…
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Conspiracy, Discounted Histories, and Nostalgia at the Met Breuer
A common analogy for a sprawling, hypnotic, and potentially fruitless search on the Internet is the rabbit hole: dark, long, and terminating in a…
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Are We Being Preached To? Adrian Piper’s Prompts at the MoMA
Adrian Piper’s artistic statements reject a moralizing approach. “I try for simplicity, not simplification. I don’t want to make prescriptions about what people should…
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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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Momus Best-Of Volume 3: 2016-17
I confess to experiencing regular doubt, lately, about what art criticism can contribute to the fray when the conversations we need to be having,…
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Sound/Off: Uneasy Listening at documenta 14 in Kassel
International art gatherings are loud affairs, and a trip through documenta 14 in Kassel rewards an ability to separate signal from noise. In a…
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The Double-Bind in Raqs Media Collective’s Institutional Critique
Longing we say, because desire is full of endless distances …
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Drones, by Design: Mahwish Chishty and the Politics of Representation
What’s at stake – aesthetically and politically – when we imagine the drone as an emblem for contemporary society? Consider the range of artistic…
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Weird Science: William Kentridge Deepens Time at Whitechapel
Normal science, wrote Thomas Kuhn, is the way most scientists spend their time: the quotidian task of theorizing, observing, experimenting – puzzle solving, in…
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