https://www.thecuratorial.net/index daily 0.75 2026-03-30 https://www.thecuratorial.net/index/on-site/venice-biennale-2026-special-section monthly 0.5 2026-03-31 https://www.thecuratorial.net/index/critical-curating/breaking-out-of-dominant-temporalities-esche monthly 0.5 2026-03-24 https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/99be009a-5463-4541-abe7-301022ff1f76/img-1-Resize.jpg Index - Breaking Out of Dominant Temporalities: Demodernizing the Museum? - Make it stand out View of the exhibition Delinking and Relinking, Van Abbemuseum, Eindhoven, 2021. © Succession Picasso/photo © Archives Van Abbemuseum, photographer: Joep Jacobs. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/0820000b-28ef-40e3-b05b-876ba94fa30e/img-2-Resize.jpg Index - Breaking Out of Dominant Temporalities: Demodernizing the Museum? - Make it stand out View of the exhibition The Making of Modern Art, Van Abbemuseum, Eindhoven, 2017. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/898cf593-6962-47c5-99d6-8e3c19a90560/img-3-Resize.jpg Index - Breaking Out of Dominant Temporalities: Demodernizing the Museum? - Make it stand out Alfred H. Barr, cover of the exhibition catalog Cubism and Abstract Art, Museum of Modern Art, New York, 1936. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/20f0809e-de2a-4add-946b-6524fa5bc448/img-4-small580-Resize.jpg Index - Breaking Out of Dominant Temporalities: Demodernizing the Museum? - Make it stand out View of the CATPC exhibition, Two Sides of the Same Coin, Van Abbemuseum, Eindhoven, 2024. © CATPC/photo © Archives Van Abbemuseum, photographer: Nick Bookelaar. https://www.thecuratorial.net/index/walking-and-talking/katerina-gregos monthly 0.5 2026-03-17 https://www.thecuratorial.net/index/roulette/nnena-kalus-2025-turner-prize-success monthly 0.5 2026-03-17 https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/914ed767-385a-4bbc-9fdd-37492909930e/Vortex%2B8.webp Index - Nnena Kalu’s 2025 Turner Prize - Make it stand out Nnena Kalu in the studio with works from her series of Vortex Drawings. Courtesy the artist and ActionSpace. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/8e3efd28-b27e-4209-a059-7faa57c8b826/857592f0-d5b4-11f0-88d3-f3714d37a458.jpg.webp Index - Nnena Kalu’s 2025 Turner Prize - Make it stand out Nnena Kalu’s exhibition at Cartwright Hall Art Gallery, Bradford, UK, 2025. Courtesy EPA Images. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/0fcf6135-4c06-4d61-a037-4a1bc1cd9046/d1e168d0-9aa4-11f0-b741-177e3e2c2fc7.jpg.webp Index - Nnena Kalu’s 2025 Turner Prize - Make it stand out Nnena Kalu’s exhibition at Cartwright Hall Art Gallery, Bradford, UK, 2025. Courtesy Getty Images. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/dfc62d6f-0db5-4937-be39-7e01027702bc/Tom+di+Maria Index - Nnena Kalu’s 2025 Turner Prize - Tom di Maria: I do think this represents a tipping point, a cultural shift in how artists with disabilities are included. The question for me is whether this is something that becomes momentary or fashionable, something that has its moment for a year or two and then fades, like NFTs, for example, or whether it marks a lasting change in the narrative arc of art history. I don’t know the answer yet. But I do believe there’s no going back to how things were before. And that is a historic demarcation. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/4eb01950-efb7-4d57-a02f-c04c529c0eb2/Screenshot+2026-02-17+at+4.35.20%E2%80%AFPM.png Index - Nnena Kalu’s 2025 Turner Prize - Christopher Bedford: Siloing creates an intensity of attention. It forces a reckoning. Only after that first act can the second act take place, which is genuine integration into a broader art-historical narrative. Applied to Creative Growth, it would have been far too slight a gesture for us to acquire a single strong painting by an artist with disabilities and hang it quietly next to a Jackson Pollock, hoping that the juxtaposition alone would do the work. No one would have noticed. Instead, this was an intentional act of concentration, of insistence. It compels attention. The second act, which is already underway, is integration: weaving this history into the larger fabric of formal, social, and political art histories. But without that initial moment of focus—of forceful visibility—you never reach that point. https://www.thecuratorial.net/index/on-site/the-sovereign-fox-persuades-law-to-dissolve-into-politics monthly 0.5 2026-01-27 https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/e946706a-c26b-4630-a8c2-703e64a32a48/Berlin+Biennale+Fox.jpg Index - The Sovereign Fox Persuades Law to Dissolve into Politics - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/8fae1d44-4468-41a6-907e-5b8e9d979dc2/Artcom+Platform+stages+a+silent+monument+commemorating+the+individuals+in+Kazakhstan+who+were+killed+detained+or+tortured+in+2022+in+the+uprising+known+as+Bloody+January_Photo+Elisa+Carollo.jpeg Index - The Sovereign Fox Persuades Law to Dissolve into Politics - Make it stand out Artcom Platform stages a silent monument commemorating the individuals in Kazakhstan who were killed, detained or tortured in 2022 in the uprising known as “Bloody January.” Image: Elisa Carollo. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/5ad1332f-a718-4cda-b079-6cf17fc4e7fe/Courthous-Resize.jpg Index - The Sovereign Fox Persuades Law to Dissolve into Politics - Make it stand out The former courthouse on Lehrter Straße, 2025. Image: Raise Galofre. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/722d3c08-cad0-4716-ba42-a101eb4b8795/bb13_simonwachsmuth_eberle-eisfeld_2025_web_1086.jpg Index - The Sovereign Fox Persuades Law to Dissolve into Politics - Make it stand out Simon Wachsmuth, From Heaven High, 2025, installation view, 13th Berlin Biennale, former courthouse on Lehrter Straße, 2025. © VG Bild-Kunst, Bonn 2025; Zilberman Berlin/Istanbul. Image: Eberle & Eisfeld. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/586c8ce5-6c68-4df5-a16e-eb7dca381b86/bb13_isaacalambata_eberle-eisfeld_2025_web_343.jpg Index - The Sovereign Fox Persuades Law to Dissolve into Politics - Make it stand out Isaac Kalambata, Mizyu, 2025, detail, 13th Berlin Biennale, former courthouse on Lehrter Straße. Courtesy Isaac Kalambata. Image: Eberle & Eisfeld. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/2db55843-c14f-49c2-bd7d-7ac12e4a08ea/Daniel+Gustav+Cramer+Fox+and+Coyote+13th-Berlin-Biennale-for-Contemporary-Art_25.jpg Index - The Sovereign Fox Persuades Law to Dissolve into Politics - Make it stand out Daniel Gustav Cramer, Fox & Coyote, 2024/25. Image: © VG Bild-Kunst, Bonn, 2025. Courtesy Sies + Höke, SpazioA, Vera Cortes, Yvon Lambert. https://www.thecuratorial.net/index/critical-curating/outsideness-and-other-words-of-advice-for-young-curators-van-tomme monthly 0.5 2025-12-10 https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/0a748416-6555-4342-a9d8-02c3166fe1e4/Crap_Shoot.jpeg Index - Outsideness, and Other Words of Advice for Young Curators - Make it stand out Jes Brinch & Henrik Plenge Jakobsen, Ticket booth, 1996, de Appel, Amsterdam. Photo: Niels den Haan. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/89c57ac2-4096-44ba-805a-b5f8134c8cf8/31_Why_Is_Everybody_Being_So_Nice_Day_4_2-1400x937.jpeg Index - Outsideness, and Other Words of Advice for Young Curators - Make it stand out Why Is Everybody Being So Nice? Day 4: The Night of Exhaustion and Exuberance. Performance with Arie de Fijter and Ksenia Perek for the Open Avond(S) series, 2017, de Appel, Amsterdam. https://www.thecuratorial.net/index/walking-and-talking/tina-petersone monthly 0.5 2025-11-17 https://www.thecuratorial.net/index/critical-curating/poor-space-madoff monthly 0.5 2025-12-09 https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/360bd273-c3f3-4759-9302-9023096bc460/Screenshot+2025-10-14+at+11.02.16%E2%80%AFAM.png Index - Poor Space - Make it stand out Ryan Gander, I Need Some Meaning I Can Memorize (The Invisible Pull) (2012). https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/f266b7b7-dd90-47cd-93b6-4460fd8dd321/Kabakov+Man+Who+Flew+Into+Space.jpg Index - Poor Space - Make it stand out Ilya Kabakov, The Man Who Flew into Space from His Apartment, 1985, mixed media, installation view, 2017. Photo: Andrew Dunkley. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/b5188df2-2595-4857-a79b-95ebdb44e39a/Collective+Actions+group+the_slogan_1977.jpg Index - Poor Space - Make it stand out Collective Actions Group, Slogan (January 26, 1977). The text reads: “I DO NOT COMPLAIN ABOUT ANYTHING AND I ALMOST LIKE IT HERE, ALTHOUGH I HAVE NEVER BEEN HERE BEFORE AND KNOW NOTHING ABOUT THIS PLACE.” A quote from Andrei Monastyrski’s 1976 poem, “Nothing Happens,” a key text for the Moscow Conceptualists. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/a4f839df-b527-4558-af01-b13cf7cd2268/Screenshot+2025-10-14+at+11.02.22%E2%80%AFAM.png Index - Poor Space - Make it stand out Corey McCorkle, Monument, 2013, HD projection, 5 min., 36 sec., Montréal Biennale, 2016, at La Station, former gasoline station designed by Mies Van der Rohe, Ile des Soeurs, Montréal. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/53ee3abf-0688-481b-a4a3-306adedcd2c9/Screenshot+2025-10-14+at+11.02.27%E2%80%AFAM.png Index - Poor Space - Make it stand out Lee Yanghee, Hail, 2020, 4-channel video, 6-channel audio, 15 min., 46 sec., Busan Biennale, “Seeing in the Dark,” 2024. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/e41aa7d4-2f0c-4fbb-84eb-0b1d8c0ca1df/Berlin-Biennale-for-Contemporary-Art-2025.jpg Index - Poor Space - Make it stand out Berlin Biennale logo, 2025. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/e2b0bc6c-4399-4132-a676-a2a4a2f9c6e6/Screenshot+2025-10-14+at+11.02.32%E2%80%AFAM.png Index - Poor Space - Make it stand out Ryan Gander, I Need Some Meaning I Can Memorize (The Invisible Pull) (2012). https://www.thecuratorial.net/index/critical-curating/thoughts-on-repair-and-remediation-zyman monthly 0.5 2025-10-14 https://www.thecuratorial.net/index/lexicon/curating-swbk8 monthly 0.5 2026-01-07 https://www.thecuratorial.net/index/walking-and-talking/lawrence-rinder monthly 0.5 2025-09-16 https://www.thecuratorial.net/index/roulette/on-curating-learning-disabled-and-neurodiverse-art monthly 0.5 2026-02-18 https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/363d8be4-9db7-46fd-a80a-a772d9b9d53f/1.+Nnena+Kalu.png Index - On Curating the Art of the Learning-Disabled and Neurodiverse: A Manifesto - Make it stand out Nenna Kalu at work. Courtesy the artist and Action Space. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/0ebe022f-a494-4e3f-8079-9cafa98d7a9f/2.+Creative+Growth+_+SFMOMA.jpg Index - On Curating the Art of the Learning-Disabled and Neurodiverse: A Manifesto - Make it stand out Installation view, Creative Growth: The House That Art Built, April 6–October 6, 2024, SFMOMA. Courtesy Creative Growth and SFMOMA. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/17b18549-cfea-4469-b904-a57b7cc516aa/Screenshot+2025-08-19+at+5.45.38%E2%80%AFPM.png Index - On Curating the Art of the Learning-Disabled and Neurodiverse: A Manifesto - Make it stand out Barry Finan. Courtesy the artist and Venture Arts. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/b8a89829-1d14-4135-8f0e-bf48b8b07b9d/4.+Marlon+Mullen+_+Artforum.png Index - On Curating the Art of the Learning-Disabled and Neurodiverse: A Manifesto - Make it stand out Marlon Mullen, Untitled, 2017 (acrylic on canvas, 30 1/4 x 30 1/4 inches / 76.8 x 76.8 cm). 1 The Museum of Modern Art, New York. Gift of AC Hudgins. © 2024 Marlon Mullen; Artforum, January 2017: Kerry James Marshall, Untitled (detail), 2008 (acrylic on PVC panel, 72 3/4 × 61 1/4 inches). Courtesy Artforum. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/de004538-e19a-4c7f-809e-eac0020ef291/5.+Nicole+Storm.png Index - On Curating the Art of the Learning-Disabled and Neurodiverse: A Manifesto - Make it stand out Nicole Storm. Courtesy the artist and Creative Growth. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/ff7da90c-0786-44d6-8e48-ed674ca2958b/6.+William+Scott.png Index - On Curating the Art of the Learning-Disabled and Neurodiverse: A Manifesto - Make it stand out William Scott in front of his work at Creative Growth’s stand, Independent Art Fair, 2021. Courtesy the artist and Creative Growth. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/9eae9257-566f-4ec1-922c-b7ba4d66aed8/7.+Kate+Adams.jpg Index - On Curating the Art of the Learning-Disabled and Neurodiverse: A Manifesto - Make it stand out Kate Adams. Courtesy the artist and Project Art Works. https://www.thecuratorial.net/index/roulette/assembly-theory-chatgpt5 monthly 0.5 2025-08-29 https://www.thecuratorial.net/index/walking-and-talking/anne-barlow monthly 0.5 2025-08-01 https://www.thecuratorial.net/index/on-site/not-foreign-enough-abbas-a-malakar monthly 0.5 2025-08-01 https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/f5f233d4-f276-4122-8004-005ff918d30d/Outside+the+Central+Pavilion+in+the+Giardini.jpg Index - Not Foreign Enough: Revisiting the 2024 Venice Biennale - Make it stand out At the 2024 Venice Biennale’s Central Pavilion entrance. Image courtesy Gabriela Valentin Cruz. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/e6117c8e-015b-4a33-897d-ff80470571cf/Screenshot+2025-07-24+at+9.47.37%E2%80%AFAM.png Index - Not Foreign Enough: Revisiting the 2024 Venice Biennale - Make it stand out Ibrahim El-Salahi, The Last Sound, 1964, Oil on canvas, 47.8 × 47.8 inches. Image courtesy Venice Biennale. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/5f1e19b7-6b0e-4140-a487-360581fca98b/_1036979%2B%281%29.jpg Index - Not Foreign Enough: Revisiting the 2024 Venice Biennale - Make it stand out Isaac Chong Wai, Falling Reverseley, 2021–2024, variable dimensions. Image courtesy Isaac Chong Wai. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/3a0e28b0-a81e-4249-8a4e-ad153272fad4/2024+Venice+Biennale+Abstractions.jpg Index - Not Foreign Enough: Revisiting the 2024 Venice Biennale - Make it stand out A display of historical abstract works in the Central Pavilion, though full of excellent pieces, indicated no apparent interest in distinctions of cultural origin and how such differences influenced the creation of the works. Image courtesy Haupt & Binder, Universes in Universe. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/bb853ef3-d8ee-46ce-bef7-6ac966e6c252/S.H.-Raza-Offrande-1986-Image-Courtesy-La-Biennale-di-Venezia.jpg Index - Not Foreign Enough: Revisiting the 2024 Venice Biennale - Make it stand out Syed Haider Raza, Offrande, 1986, Acrylic on canvas, 39.4 x 39.4 inches. Image courtesy Venice Biennale. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/035dd352-37aa-47db-8009-45bf2475ecb7/Screenshot+2025-07-24+at+9.22.27%E2%80%AFAM.png Index - Not Foreign Enough: Revisiting the 2024 Venice Biennale - Make it stand out Kazuya Sakai, Pintura No.9, 1969, acrylic on canvas, 51.2 × 51.2 inches. Image courtesy Venice Biennale https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/de8a8942-745a-4bd0-afc3-8d0104c80ad0/Faggots.jpg Index - Not Foreign Enough: Revisiting the 2024 Venice Biennale - Make it stand out Dean Sameshima, Anonymous Faggots, 2024. Image Courtesy Gabriela Valentín Cruz. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/a1e40685-9921-4d61-9f64-5eddb302559d/Ahmed+Umar+Talitin+The+Third.jpg Index - Not Foreign Enough: Revisiting the 2024 Venice Biennale - Make it stand out Ahmed Umar, Talitin (The Third) (2023-34), still from video and performance. Image courtesy Venice Biennale. https://www.thecuratorial.net/index/critical-curating/disagreeable-inquiries-wilson monthly 0.5 2025-08-19 https://www.thecuratorial.net/index/on-site/of-snakes-and-mirrors-bernardo-jos-de-souza monthly 0.5 2025-07-01 https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/868b29d4-d2e8-4af4-8935-938abedf39ee/AV+-+HSA-65.jpeg Index - Of Snakes and Mirrors - Make it stand out Adriana Varejão: Don’t Forget, We Come from the Tropics exhibition view at the Hispanic Society of America. Image courtesy Gagosian. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/bfeb5781-1bf2-4354-b5fd-4353b44bf947/AV+-+HSA-62.jpeg Index - Of Snakes and Mirrors - Make it stand out Adriana Varejão: Don’t Forget, We Come from the Tropics exhibition view at the Hispanic Society of America. Image courtesy Gagosian. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/26e13ab2-5673-474d-a5c0-824071a982df/AV+-+HSA-18.jpeg Index - Of Snakes and Mirrors - Make it stand out Adriana Varejão: Don’t Forget, We Come from the Tropics exhibition view at the Hispanic Society of America. Image courtesy Gagosian. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/a1c9e457-276a-4c2f-9edf-a2256df12dc2/AV+-+HSA-22.jpeg Index - Of Snakes and Mirrors - Make it stand out Adriana Varejão: Don’t Forget, We Come from the Tropics exhibition view at the Hispanic Society of America. Image courtesy Gagosian. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/9bab3b66-8467-4444-b18f-d01f4eb4f188/AV+-+HSA-6.jpeg Index - Of Snakes and Mirrors - Make it stand out Adriana Varejão, Boto e Aruá, 2025. Oil on fiberglass and resin. On view at the Hispanic Society of America. Image courtesy Gagosian. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/d2a96fd3-92dd-4748-82a9-e9a3daa13c05/AV+-+HSA-67.jpeg Index - Of Snakes and Mirrors - Make it stand out Adriana Varejão, Sucuri, 2025. On view at the Hispanic Society of America. Image courtesy Gagosian. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/e92cad66-bf69-427b-a3ce-1d5852e11a3f/AV+-+HSA-60.jpeg Index - Of Snakes and Mirrors - Make it stand out Adriana Varejão: Don’t Forget, We Come from the Tropics exhibition view at the Hispanic Society of America. Image courtesy Gagosian. https://www.thecuratorial.net/index/lexicon/curating monthly 0.5 2025-09-25 https://www.thecuratorial.net/index/walking-and-talking/jacqueline-e-burckhardt monthly 0.5 2025-09-09 https://www.thecuratorial.net/index/critical-curating/an-enfolding-madoff monthly 0.5 2025-09-14 https://www.thecuratorial.net/index/walking-and-talking/theo-mario-coppola monthly 0.5 2025-03-25 https://www.thecuratorial.net/index/editorial/welcome-madoff monthly 0.5 2026-02-24 https://www.thecuratorial.net/index/roulette/world-questions-smith monthly 0.5 2025-03-11 https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/1e669544-f48d-44e9-b46b-7103bd890e50/Screenshot+2024-11-26+at+1.24.34%E2%80%AFPM.png Index - World Questions—For Contemporary Curatorial Education - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.thecuratorial.net/index/critical-curating/alia-swastika monthly 0.5 2025-09-16 https://www.thecuratorial.net/index/critical-curating/the-curatorial-rito monthly 0.5 2025-04-22 https://www.thecuratorial.net/index/on-site/familial-frontiers-koren monthly 0.5 2026-01-21 https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/25a68bda-2f2f-4fcc-8e77-4cbe72da45b8/large_WMAA87520_AILEY_023_SHOT-01.jpg Index - At the Edge of Ailey - Make it stand out Installation view of Edges of Ailey (Whitney Museum of American Art, New York, September 25, 2024-February 9, 2025). From left to right: Romare Bearden, “The Father Comes Home” from the Bayou Fever series, 1979; Romare Bearden, “Wife and Child in Cabin” from the Bayou Fever series, 1979; Romare Bearden, “The Herb Woman” from the Bayou Fever series, 1979; Romare Bearden, “The Mother Hears the Train” from the Bayou Fever series, 1979; Robert Duncanson, View of Cincinnati, Ohio from Covington, Kentucky, c. 1851; Mary Lovelace O’Neal, Race Woman Series #7, c. 1990s; Jean-Michel Basquiat, Hollywood Africans, 1983; Emma Amos, Judith Jamison as Josephine Baker, 1985; Kerry James Marshall, Souvenir IV, 1998; Ellsworth Ausby, Untitled, 1970; Lorna Simpson, Momentum, 2011; Kandis Williams, Black Box, 4 points: Horton, Ailey, McKayle contractions and expansions of drama from vernacular –– arms outstretched and entangle, 2021; Jacob Lawrence, Figure Study, c. 1970; Terry Adkins, Other Bloods (from The Principalities), 2012; James Little, Stars and Stripes, 2021; Rashid Johnson, Untitled Anxious Men, 2016; Glenn Ligon, Stranger in the Village #12, 1998. Photograph by Ron Amstutz. All images courtesy the Whitney Museum of American Art. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/f8457f67-e509-4f90-bac6-868a82b509f0/large_WMAA87513_AILEY_016_SHOT-01_NEW.jpg Index - At the Edge of Ailey - Make it stand out From left to right: Ellsworth Ausby, Untitled, 1970; Kerry James Marshall, Souvenir IV, 1998; Beauford Delaney, Charlie Parker Yardbird, 1958; Norman Lewis, Phantasy II, 1946; Sam Gilliam, Swing 64, 1964; Loïs Mailou Jones, Jennie, 1943; Betye Saar, I’ve Got Rhythm, 1972; Charles Gaines, Sound Box: Nina Simone and Billie Holiday, 2021; Jean-Michel Basquiat, Hollywood Africans, 1983; Romare Bearden, “The Father Comes Home” from the Bayou Fever series, 1979; Romare Bearden, “Wife and Child in Cabin” from the Bayou Fever series, 1979; Romare Bearden, ”The Swamp Witch” from the Bayou Fever series, 1979; Romare Bearden, “The Blue Demons” from the Bayou Fever series, 1979; Romare Bearden, “The Wart Hog” from the Bayou Fever series, 1979; Romare Bearden, “The Lizard” from the Bayou Fever series, 1979; Romare Bearden, “The Hatchet Man” from the Bayou Fever series, 1979. Photograph by Ron Amstutz. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/47194742-3433-4929-a735-de31f2bd0611/Screenshot+2024-11-20+at+5.41.22%E2%80%AFPM.png Index - At the Edge of Ailey - Make it stand out From left to right: Romare Bearden, “Star (Star from the Heavens)” from the Bayou Fever series, 1979; Archibald John Motley Jr., Gettin’ Religion, 1948; Roy DeCarava, Coltrane and Elvin, 1960; Roy DeCarava, Elvin Jones, 1961; Lyle Ashton Harris, Billie #21, 2002; Hale Aspacio Woodruff, Blind Musician, 1935/1998; Norman Lewis, Jazz, 1943–44; Gordon Parks, Music–That Lordly Power, 1993; Mary Lovelace O’Neal, Race Woman Series #7, c. 1990s; Terry Adkins, Other Bloods (from The Principalities), 2012; Bill Traylor, Untitled (Man in a Blue House), date unknown; Ralph Lemon, Bongos and Djembe, 1999; Ralph Lemon, Untitled (On Black music), 2001-07; Ralph Lemon, Untitled (Miles Davis), 2006; Mickalene Thomas, Katherine Dunham: Revelation, 2024. Photograph by Ron Amstutz. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/7b6a1146-ad90-4466-b805-a77c0e1502e2/large_WMAA87508_AILEY_011_SHOT-01.jpg Index - At the Edge of Ailey - Make it stand out From left to right: Sam Doyle, Frank Capers, 2023; Sam Doyle, LeBe, 1970s; Wadsworth Jarrell, Together We Will Win, 1973; Faith Ringgold, United States of Attica, 1971; Wadsworth Jarrell, Revolutionary (Angela Davis), 1972; James Van Der Zee, Marcus Garvey Rally, 1924; Jeff Donaldson, Soweto/So We Too, 1979. Photograph by Ron Amstutz. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/118a359c-bed1-4e4a-9c3a-d0c5ef1f3722/Screenshot+2024-11-20+at+5.41.28%E2%80%AFPM.png Index - At the Edge of Ailey - Make it stand out From left to right: Alma Thomas, Mars Dust, 1972; Charles White, Preacher, 1952; Lonnie Holley, Sharing the Struggle, 2018; Benny Andrews, The Way to the Promised Land, 1994; Sam Doyle, Frank Capers, 2023; Sam Doyle, LeBe, 1970s; Wadsworth Jarrell, Together We Will Win, 1973; Faith Ringgold, United States of Attica, 1971; Wadsworth Jarrell, Revolutionary (Angela Davis), 1972; James Van Der Zee, Marcus Garvey Rally, 1924; Jeff Donaldson, Soweto/So We Too, 1979; Horace Pippin, School Studies, 1944; Horace Pippin, Cabin in the Cotton, c. 1931–37; Horace Pippin, Knowledge of God, 1944; William H. Johnson, At Home in the Evening, c. 1940; John Biggers, Sharecropper, 1945; Robert Duncanson, View of Cincinnati, Ohio from Covington, Kentucky, c. 1851; Joe Overstreet, Purple Flight, 1971; Emma Amos, Judith Jamison as Josephine Baker, 1985; Kerry James Marshall, Souvenir IV, 1998; Lynette Yiadom-Boakye, A Knave Made Manifest, 2024; Lynette Yiadom-Boakye, Fly Trap, 2024; Missa Marmalstein and other makers unknown, Block 1871 of the AIDS Memorial Quilt, 1987. Photograph by Ron Amstutz. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/5527a559-37a4-4bb4-9cfd-5f39ff196109/large_WMAA87521_AILEY_024_SHOT-01.jpg Index - At the Edge of Ailey - Make it stand out From left to right: Maren Hassinger, River, 1972/2012; Melvin Edwards, Utonga (Lynch Fragment), 1988; Aaron Douglas, Bravado, 1926; Melvin Edwards, Chitungwiza from the Lynch Fragment series, 1989; Aaron Douglas, Flight, 1926; Melvin Edwards, Katura from the Lynch Fragment series, 1986; Aaron Douglas, Surrender, 1970; Melvin Edwards, Cup of? From the Lynch Fragment series, 1988. Photograph by Ron Amstutz https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/6d853bc1-9f3f-45ee-81db-7952c875d8c7/large_WMAA87519_AILEY_022_SHOT-01_NEW.jpg Index - At the Edge of Ailey - Make it stand out From left to right: Purvis Young, Ocean, 1975; Meta Vaux Warrick Fuller, Mold for Crusaders for Freedom, 1962; Sam Gilliam, Untitled (Black), 1978; David Hammons, Untitled, 1992; Al Loving, Untitled, c. 1975; Hale Aspacio Woodruff, By Parties Unknown, 1935, printed 1996; Hale Aspacio Woodruff, Giddap, 1935, printed 1996; Purvis Young, I Love Your America, late 1970s; Martin Puryear, The Rest, 2009-10; Samella Lewis, Migrants, 1968; Purvis Young, Black People Migrating West, late 1970s; William H. Johnson, Moon Over Harlem, 1943-44; Lonnie Holley, Sharing the Struggle, 2018; Theaster Gates, Minority Majority, 2012; Sam Doyle, Frank Capers, 2023; Sam Doyle, LeBe, 1970s; Wadsworth Jarrell, Together We Will Win, 1973; Faith Ringgold, United States of Attica, 1971; Wadsworth Jarrell, Revolutionary (Angela Davis), 1972; James Van Der Zee, Marcus Garvey Rally, 1924; Jeff Donaldson, Soweto/So We Too, 1979; Maren Hassinger, River, 1972/2012; Melvin Edwards, Utonga (Lynch Fragment), 1988; Aaron Douglas, Bravado, 1926; Melvin Edwards, Chitungwiza from the Lynch Fragment series, 1989; Aaron Douglas, Flight, 1926; Melvin Edwards, Katura from the Lynch Fragment series, 1986; Aaron Douglas, Surrender, 1970; Melvin Edwards, Cup of? From the Lynch Fragment series, 1988. Photograph by Ron Amstutz. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/2dbdc099-0d78-4505-85f4-c3116b27410c/large_WMAA87518_AILEY_021_SHOT-01_NEW.jpg Index - At the Edge of Ailey - Make it stand out In vitrine, from left to right: Elizabeth Catlett, I am the Negro Woman, 1947, printed 1989; Elizabeth Catlett, In Harriet Tubman I helped hundreds to freedom, 1946, printed 1989; Elizabeth Catlett, In Sojourner Truth I fought for the rights of women as well as Negroes, 1947, printed 1989; Elizabeth Catlett, In Phillis Wheatley I proved intellectual equality in the midst of slavery, 1946, printed 1989; From left to right: Kara Walker, African/American, 1998; Karon Davis, Dear Mama, 2024; Geoffrey Holder, Portrait of Carmen de Lavallade, 1976; Beauford Delaney, Marian Anderson, 1965; Loïs Mailou Jones, Jennie, 1943; Meta Vaux Warrick Fuller, Mother and Child (Secret Sorrow), c. 1914. Photograph by Ron Amstutz. https://www.thecuratorial.net/index/critical-curating/changing-concepts-slager monthly 0.5 2025-03-11 https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/dacb80ef-a1cc-4314-9c45-d8b53b0e1633/Slager+Picture+1.jpg Index - Changing Concepts of Curatorial Enquiry: Care, Ethics, and Research - Make it stand out Gustafsson & Haapoja, Becoming. Manual for Earthly Living, installation view of Farewell to Research, MNAC, Bucharest, 2021. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/1fa7cfa2-dc50-4ebc-8ce4-afcdc9b5f616/Picture2.jpg Index - Changing Concepts of Curatorial Enquiry: Care, Ethics, and Research - Make it stand out Ursula Biemann, Subatlantic, installation view (right side), Re-Imagining Futures, OnCurating, Zurich, 2019. https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/94b643c4-b92e-49ac-ba94-fe214a9ea499/Picture3.jpg Index - Changing Concepts of Curatorial Enquiry: Care, Ethics, and Research - Make it stand out Lonnie van Brummelen & Siebren de Haan, Stones Have Laws, installation view, Any Speculation Whatever, Museo Nacional de Bellas Artes de La Habana, 14th Havana Biennale, 2022. https://www.thecuratorial.net/index/critical-curating/digital-art-as-intangible-heritage-4rs65 monthly 0.5 2025-03-11 https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/aad82981-abb2-4d5e-802a-ad0ede8a3e20/Ian+Cheng.jpg Index - Digital Art as Intangible Heritage: A Shifting Cultural Landscape - Make it stand out Ian Cheng: Life After BOB, 9 September - 6 November 2022 at Halle am Berghain, Berlin © 2022 Ian Cheng. Presented by LAS Art Foundation © Dario Laganá https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/0717fa1b-4fae-4f2d-8220-2dca5016ce55/Hito+Steyerl.jpg Index - Digital Art as Intangible Heritage: A Shifting Cultural Landscape - Make it stand out Hito Steyerl: Power Plants. Installation view, 11 April – 6 May 2019, Serpentine Galleries. AR Application Design by Ayham Ghraowi, Developed by Ivaylo Getov, Luxloop, 3D data visualisation by United Futures. Courtesy of the artist, Andrew Kreps Gallery (New York) and Esther Schipper Gallery (Berlin). Photograph: © 2019 readsreads.info https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/a9db5c8a-96ee-4620-b541-cbc92e976f38/Simon+Denny+3.jpg Index - Digital Art as Intangible Heritage: A Shifting Cultural Landscape - Make it stand out Simon Denny: Products for Organising. Installation view: Serpentine Galleries, 25 November 2015 – 14 February 2016. Photograph © 2015 readsreads.info. Courtesy of the artist https://images.squarespace-cdn.com/content/v1/65b862b08f93145af22bb4cb/349f18e3-2ef5-43a4-ac60-fc13f57ad1f1/Refik+Anadol.jpg Index - Digital Art as Intangible Heritage: A Shifting Cultural Landscape - Make it stand out Refik Anadol, Echoes of the Earth: Living Archive, 2024. Installation view, Serpentine Galleries, London, 2024. Photo: Hugo Glendinning. 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