“The Object Comes Alive”: A Conversation with Claes Oldenburg* HAL FOSTER Hal Foster: Thanks so much for meeting, Claes. With your recent exhibition and book of writings in mind, I wanted to ask you a…

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Zoonotic Undemocracy* ARNAUD GERSPACHER In 1967, the Brazilian artist Nelson Leirner balked at the confining of a large dead pig to a gestation crate in the fourth Modern Art Salon of Brasília. He called out…

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Lawrence Weiner’s Materialism* TREVOR STARK I wrote this essay for the forthcoming catalogue of what turned out to be the final exhibition of Lawrence Weiner’s lifetime: CLOSE TO A RAINBOW, curated by Anders Gaardboe Jensen…

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Art Communities at Risk: On Ukraine SVITLANA BIEDARIEVA To focus attention on the amplified hostility around the world to the figure of the artist and artistic expression, as well as to attend to the conditions…

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Garrett Bradley. America. 2019. F / d o i / . / / 1 0 1 1 6 2 o c t o _ a _ 0 0 4 4 1 1 9 7 9…

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“Killing for Show”: A Conversation with Julian Stallabrass MIGNON NIXON Mignon Nixon: Would you start us off by explaining what you mean by “killing for show,” the title of your new book (Killing for Show:…

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Lying in the Gallery* PAMELA L. LEE I On the topic of burnout, recent art, and working remotely under condi- tions of pandemic, I begin with a seemingly impolitic question: Why do we take things…

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Lucia Moholy. Hands Peeling Potatoes. C. 1930. F / d o i / . / / 1 0 1 1 6 2 o c t o _ a _ 0 0 3 9 3 1…

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Aaron Douglas. Aspects of Negro Life: From Slavery through Reconstruction (detail). 1934. © 2020 Heirs of Aaron Douglas. All Douglas images are licensed by VAGA at Artists Rights Society (ARS), NY. Aaron Douglas and Aspects…

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Stock photo of a woman touching her face. F / d o i / . / / 1 0 1 1 6 2 o c t o _ a _ 0 0 4 0 9…

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