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The work Take the Money and Run becomes part of the collection.
Our obsession with instant emotional returns robs us of the ability to understand the culture in which we live.
Taryn Simon has filled Cisternerne with the beautiful voices of twenty professional lamenters, but the magnificent sadness does not really hit home.
It is becoming increasingly obvious that the national pavilions at the Venice Biennale are a problematic and dated premise for international contemporary art.