Opinion
When Artists Lose Their Archives
I couldn't afford my storage unit anymore. After it was auctioned off, I found out that parts of my lost work were being sold online.
Opinion
Opinion
Epstein Files Expose the Depths of the Art World's Rot
How do we empower arts leaders to reject funding from corrupt individuals in favor of donors who have proven themselves to be civic leaders?
Opinion
Archival Art Will Not Save Us
Archival work has a place in historical recovery and cultural self-understanding. But not every artwork must be archival, and our politics shouldn’t end with presence rather than action.
Opinion
After the Strike, Will Art Galleries Be Allies?
If deleting the social media post tomorrow would change nothing about how artists are paid or how resources are allocated, the gallery’s allyship is disposable.
Opinion
How Trump Is Jeopardizing the US Art Market
If entering the country suddenly requires surrendering your digital life and private information, how long before artists and collectors simply choose not to come?
Opinion
Gabrielle Goliath Strikes a Tuning Fork of Dissent
The cancellation of the South African artist’s Venice Biennale pavilion reveals the machinations of state censorship — and the ways we can collectively resist it.
Opinion
On Being a Somali Artist in Minnesota
Violence has a way of turning familiar places into guarded ground. And yet, I ask not what has been taken, but what we will continue to build from what remains.
Opinion
Accessibility Should Be at the Center of Museum Education
Art history departments often fail to embed disability studies into their curricula when engaging with art, politics, and identity.
Opinion
San Francisco's Tech Billionaires Don't Care About Your Art School
Behind the closure of the California College of the Arts is a widening wealth disparity that is now taking on national dimensions.
Opinion
The South African Pavilion Is Betraying Its Own History
The same government that has held Israel accountable for its genocide in Gaza must revoke its culture minister’s decision to axe the Venice Biennale performance.
Opinion
Why Are We Paying for the Privilege of Rejection?
Application fees are one of the least examined but most pervasive forms of class stratification in the arts.
Opinion
Curating a Show on My Ineffable Mother, Ursula K. Le Guin
I would never have proposed this exhibition in her lifetime. This is, after all, a writer who said in an interview, “Don’t shove me into your damn pigeonhole, where I don’t fit, because I’m all over.”