Support Hyperallergic’s independent arts journalism.
Last night, over 40 protesters staged an intervention inside the Guggenheim Museum in Manhattan during Saturday night’s pay-what-you-wish admission hours. Unfurling mylar banners, dropping leaflets, chanting words, handing out information to museum visitors, and drawing attention with the use of a baritone bugle, the group worked to highlight the labor conditions on Saadiyat Island in the United Arab Emirates, where Guggenheim Abu Dhabi, a franchise of New York’s Guggenheim, is being built.
Staged in the midst of the museum’s newly opened Italian Futurism exhibition, the intervention, a term used by some members of the group to describe the action, received both applause from visitors who seemed excited by the commotion and reactions of confusion from others unsure what was going on.
The intervention began at 6:45pm EST with a bugle call and a loud question: “Who is building the Guggenheim Abu Dhabi?” The whole action continued for roughly 20 minutes, during which time security guards appeared to react slowly to the protesters as hundreds of museum visitors captured images and video of the protests.
The participants, who were a diverse group of artists, professors, students, and activists loosely affiliated with Occupy Museums, Gulf Labor, and various NYU-related groups, timed their protest to take place during the pay-what-you-wish hours of the museum, which normally charges $22 admission for adults. When I asked organizers if they purposely chose their action to coincide with the Italian Futurism exhibition and the Carrie Mae Weems retrospective, they told me that they did not, but that they were delighted for the coincidence since Futurism sought to combine art and politics, while Weems is a champion of those who have been historically excluded from museums.
“This is a new phase of the campaign, we’re moving beyond talk to action, and bringing it home obviously to the Guggenheim,” said Andrew Ross, a NYU professor of sociology, who is involved in the Gulf Labor coalition and the NYU Fair Labor coalition. “There are so many more people involved in this action that were not involved in Gulf Labor until this point. We’re widening the circle of participation, and that will have an impact.”
Gulf Labor is a coalition of artists, academics, and activists who have worked for over a year to ensure that the labor conditions on Saadiyat Island in Abu Dhabi, which will house Guggenheim- and Louvre-branded museums and a NYU-affiliated university, are not exploitative to workers. Many human rights organizations say that the workers who are brought to Saadiyat Island are victimized by the nation’s sponsorship system and face grueling and inhuman conditions on a daily basis.
During our brief conversation, Ross explained how their work raising awareness about workers’ debt, which translates to a type of indentured servitude for migrant workers, is connected to much bigger issues.
“We’re trying to make a connection with chains of debt that are transnational, and in the various locations we’re looking at, Bangladesh, Abu Dhabi, NYU, and the art world, there’s an enormous accumulation of debt in each of these places, and the money is getting extracted by the transnational creditor class,” Ross said. “And artists are more and more [in debt], and in order to practice art, you’re required to take on a big debt burden … so there’s a connection across many continents. Another art world is possible, one that’s more principled and ethical, and that looks out for the human and labor rights of all. Artists should not be asked to exhibit in museums that have been built on the back of abused workers … that’s what it boils down to. When you’re acquired by a museum that does that, that’s unfair. Your complicity is being bought along with the artwork.”
The idea of using art as a way to reimagine the world was at the heart of another participant’s passion for the issue. “Art, among other things, is about doing, living, and imagining a better world,” said artist Nitasha Dhillon of MTL Collective. “Art should not violate human rights, art should not endanger workers lives, and art should not create debt slaves. And definitely not be part of a system that creates debt bondage.”
She sees yesterday’s action as “a call for solidarity and a call for museums to do the right thing.” She added that “it’s important for museum goers to understand what kind of system they are participating in.”
One college student I spoke to, who originally hailed from China, said she was taking part in this, her first action, because it excited her to think about how art and social justice can work together to help change people’s lives. When I asked her how that interconnectedness changed her perception of art, she replied: “It changes art for the better for me.” She said she’d like to bring these ideas to China when she returns.
One Polish artist who participated with the group dropped one-sided leaflets he printed and brought to the event. The ambiguous pieces of paper featured an eye, a recycling symbol, an EKG, and the words “Human Toy Tool.”
I recorded as much of the intervention as I could on my smartphone, and the video is posted here:
After guards removed all the remaining banners, the intervention participants slowly left the museum. One man, who was playing the bugle, was temporarily detained by the NYPD, though he was released after a few minutes without providing ID or other personal information.
Guggenheim guards, who were obviously unnerved by the event, yelled at one participant in front of the museum entrance. A few moments later, a guard came out to the street to tell hundreds of people lined up in front of the museum that no one else would be allowed into the building that evening. The crowd was visibly disappointed and many people lingered hoping the museum administration would change their mind.
After the intervention, I encountered artist Amin Husain, who helped lead the chants, and I asked him if he thought it was all a success. “I think it was well-received by the people in the museum. One person told me that they didn’t know that was happening, so public education is really important,” he said. I asked him about the exhibitions themselves and whether he thought people understood what they were saying in that context, and he said he did: “I think the context is really appropriate, because they [the Futurists] talked about restructuring the universe, so clearly the museum is giving that some thought at this moment, and we want to talk about restructuring the universe without fascism and without slave labor.”
The intervention, which was the first by a new coalition that includes Occupy Museums, Gulf Labor, and various New York University–affiliated groups, came about after a month of meetings between the various organizations. The coalition, which was using the acronym G.U.L.F. (Gulf Ultra Luxury Faction) to identify themselves in their informational brochure, hope that this will be the first in a series that builds bridges in their continuing fight for social justice. The next event is scheduled for Wednesday, February 26, 5:15pm EST, at NYU’s Global Center for Academic & Spiritual Life (GCASL), which is located at 238 Thompson Street, Room 369, in Manhattan’s Greenwich Village.
Hyperallergic reached out to the Guggenheim Museum for comment last night, and we have yet to hear back from the organization. [UPDATE: The Guggenheim Director Richard Armstrong has provided Hyperallergic with a statement.]
These were the words participants were chanting last night (according to a text provided to Hyperallergic during the intervention):
Archeologists can now prove the Vikings made landfall in the Americas hundreds of years before Columbus reached the Bahamas.
This week, the National Gallery of Art finally acquired a major work by Faith Ringgold, the director of The Velvet Underground talks film, North America’s Hindu Nationalist problem, canceling legacy admissions, and more.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
Sculptures of Oaxacan alebrijes, envisioned as guardians of the nation’s immigrant community, and catrinas, Day of the Dead skeletons, are now at Rockefeller Center.
“I am trying to keep the immediacy of my emotional experience while I’m painting.”
Art by Athena LaTocha, Wendy Red Star, Marianne Nicolson, Anita Fields, Jaune Quick-to-See Smith & Neal Ambrose-Smith, and more is on view through January 2022.
The intention behind the seemingly bizarre combination was, according to Attie, “to give visual form to the shared American and Brazilian reality of nationalistic divisions that defines our political present.”
Nowhere in the museums’ advertising blitzkrieg for the performance were we told to bring our wildfire-season masks as well as our covid masks, and covid masks don’t prevent smoke inhalation.