The Untenability of the Unethical Museum
The last time I visited a museum was in early March, when I saw artist Tishan Hsu’s survey at Hammer Museum in Los Angeles….
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Depleting Felix Gonzalez-Torres
In recent weeks, piles of fortune cookies materialized around the world – in art spaces, restaurants, and private homes in Dubai, Beijing, Montevideo, and…
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The Inevitable Cannibalization of Institutional Critique: Surveying Michael Asher and Christopher D’Arcangelo in L.A.
Emma Goldman described anarchism as “a living force in the affairs of our life, constantly creating new conditions,” refusing a “theory of the future…
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Isa Genzken Plays with the Artworld’s Insides in “I Love Michael Asher”
“And why is this dedicated to Michael Jackson?” journalist Randy Kennedy asked Isa Genzken last February as both sat on a stage at the…
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Helen Molesworth Upends the Permanent Hang at MOCA LA
Ruth Asawa spent the summer of 1948 making buttermilk for her teachers, Josef and Anni Albers, in Asheville, North Carolina. She was enrolled at…
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Trenton Doyle Hancock Moves to Mythos at Sarasota’s Ringling Museum
The context of Trenton Doyle Hancock’s past exhibitions weighs heavily on his present. With Hancock’s epic fiction circling the creatures known as Mounds, each successive…
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The Suffering Body of 1993: Whatever Happened to the “Abject”
The best way to fuck something up is to give it a body. A voice is killed when it is given a body. Whenever…
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In “Martin Wong: Painting is Forbidden,” the Wattis Institute Largely Sidesteps Painting
“Basically everything I paint is in my immediate neighborhood, where I ended up,” Martin Wong said in a lecture in 1991. “So, people assume…
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