Ceci Moss. Ceci Moss is a curator, writer, and educator with twenty years of professional practice. Her first book, Expanded ...

When you first walk into Fragments of a Faith Forgotten: The Art of Harry Smith at the Whitney Museum, you’re greeted by Andy Warhol’s… ...

I have never been to a Ron Athey performance. I never went to any of the clubs he frequented; I’ve never met him in person. I wasn’t even alive for most of his career, and I was three years old when ...

Ursula Biemann has been challenging, and excavating, how knowledge is produced for thirty years now, but in the past decade she has turned her attention to the environment. Her fieldwork has ...

Shelly Mars has always been interested in what we should not talk about, and as a result, she has for the past forty years faced constant criticism and pushback. Nonetheless, the multifaceted ...

In between visits to Nadia Belerique’s exhibition, SLICE, at David Dale Gallery in Glasgow, I’d been engaged in moving flats for the first time since March 2020. The imaginative potency of private ...

And, like the world, a lunatic asylum is a mosaic of the passions. —An asylum doctor in the Sarthe, 1837 Upon discovering an illness, it is customary practice for the pioneering doctor to give it his ...

I got lost several times on my way to Casa Susanna, the exhibition I had set out to write about. It was a sticky Friday night in July—“date night” at the Metropolitan Museum of Art, as the Met ...

The best way to fuck something up is to give it a body. A voice is killed when it is given a body. Whenever there’s a body around you see its faults. The question is, now, in an artworld and social ...

Walter Scott faces a dilemma that has confronted many multi-disciplinary artists, especially those who work in both contemporary art and more mass-cultural fields: being recognized and celebrated ...

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 his most renowned artworks are in the next gallery along with his clownish public ...

In a recent essay for Artforum, Jon Rafman described his early work as “romantic.” Specifically, he cited his virtual safaris of Kool-Aid Man in Second Life (2008-2011) and the Google Street View ...