In a democracy, destroying a work of art is never a solution to any offense it may give. Once art has been made and released into the often choppy flow of life, it should stay there. It will live on anyway. To dictate its elimination is an implicitly autocratic move, similar in spirit, if not scale, to the deliberate demolition of ancient art and artifacts by the Taliban and the Islamic State.Roberta Smith, The Case for Keeping San Francisco’s Disputed George Washington Murals, NYT
Put a little more generously, Mapplethorpe had the canniness and the guts to exhibit pictures that framed his sexual obsessions with a formal elegance that allowed them unprecedented entree into galleries and museums. He aligned perfectly with the historical moment, but that moment has passed.Arthur Lubow, Has Robert Mapplethorpe’s Moment Passed?, NYT
Hyperallergic podcast: Talking Digital Colonialism with Morehshin Allahyari
Andrew Goldman, ‘Museums Are Contested Sites’: The Art Institute of Chicago’s James Rondeau on Why He Finds the Current Moment So Electrifying, Artnet
Hannah Black, Ciarán Finlayson, and Tobi Haslett, The Tear Gas Biennial, Artforum
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