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Poema Colectivo 2020

In the spirit of collectivity despite geographical distance, post invites your contributions to create a "collective poem" for our moment based on the 1981 project Poema Colectivo Revolución by...
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Incommensurability and Untranslatability

The move to diversify art historical narratives is often accompanied by a search for commonalities. Instead of addressing a need to acknowledge radical difference and untranslatability, each...
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Restitution and Return

The discussion raises contemporary questions of restitution of cultural property taken during periods of colonial expansion. Curator Sean Anderson discusses the challenges of the repatriation of...
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New York, Site of International Crossings

The session explores New York as a site of intersections of artists from around the world who have passed through or settled in the city. Writer and curator Omar Berrada introduces the Moroccan...
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Borders and the Barrier of the Skin

A key contradiction of globalization is its facilitation of the movement of goods while the movement of people is increasingly restricted. Furthering this tendency, biometric technologies have...
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Documenting Migration in Contemporary Art: Bouchra Khalili’s The Mapping Journey Project

How to raise awareness of the most recent refugee crisis in the Mediterranean in a way that does not spectacularize human suffering? Beginning with Bouchra Khalili's The Mapping Journey Project, ...
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Breathing

Song Dong's 1996 Breathing—a work that zeroes in on the act of breathing in two charged public spaces in Beijing—speaks to art as intertwined with the practice of living, resistance as well as...
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Xu Bing's Cropland (1987)

In Xu Bing’s Cropland, part of the Series of Five Repetitions (1987-88), Chinese characters double as landscape depiction, creating a liminal work that resonates between word and image,...
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Jac Leirner’s Lung and Untranslatability

Made of 1200 cigarette packs, Jac Leirner’s Lung works both reflect the consumerism of which they are born but also transcend far beyond it while conjuring tropes from Minimalism, Conceptual Art,...
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Hamaya Hiroshi: The Faces of Postwar Japan

Hamaya Hiroshi’s Composition of December 1953 stands out from his more human-centric photographic practice. The American military vehicle crossing a snowy landscape becomes a marker of US...
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Away from the Frontlines: Olga Rozanova and Aleksei Kruchenykh’s 1916 Album War

The 1916 album War by Olga Rozanova, made in collaboration with Aleksei Kruchenykh, draws upon the visual and linguistic vocabularies of Futurism and Suprematism to explore the trauma of war.
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Telling Secrets: Abu Bakarr Mansaray’s Sinister Project

Responding with imagination to the brutality and violence of Sierra Leone's civil war (1991-2002), Abu Bakarr Mansaray’s monumental drawing Sinister Project depicts a fictitious war machine with...
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Juan Manuel Echavarría’s Mouths of Ash: Walking the Conflict Territories

Addressing the history and impact of violence in Colombia, Juan Manuel Echavarría’s work does not represent violence as an abstraction but rather registers a tangible reality with a name and a...
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Mrinalini Mukherjee: Textile to Sculpture

Mrinalini Mukherjee's work does not easily fit any neat categories, whether "Post-Minimalism," "Fiber art" or "craft." Considering Yakshi (1984) in MoMA's reinstalled galleries as one example of...
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What Color Is Racism?

Over two years, Williams painted eight condemned houses in and around Chicago’s Englewood neighborhood, selecting colors from the consumer products and companies marketed to the Black communities...
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The Life in Between: Ryue Nishizawa’s Moriyama House, Tokyo, 2002-2005

A look at the history of the modern house suggests that domestic living takes shape in the intermediate, and sometimes contentious, space between the aspirations of the dweller and architect....
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Putting the Global Art Narratives in Order: Chéri Samba’s Problème d'eau

Chéri Samba likes to throw people off. The cartoon-like texts with direct messaging that frequently figure in Samba's complex visual universes function to maintain authorial control. As the artist...
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The Two in the One: Cecilia Vicuña’s Pantera Negra y Yo (ii) (Black Panther and Me [ii])

Composed of multiple bodies and body parts, human and animal, Cecilia Vicuña’s Pantera Negra y Yo (Black Panther and Me) is not just a painting. It doubles a painting that was destroyed and then...
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Maris Bustamante’s El pene como instrumento de trabajo (1982): A Pivotal Gesture

Created in 1982 by the Mexican conceptual artist Maris Bustamante, El pene como instrumento de trabajo/para quitarle a Freud lo macho (The Penis as a Work Instrument)/To Get Rid of the Macho in...
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History in the Making, But Who’s Counting? A Critical Analysis of Dialogue (对话) by Xiao Lu (肖鲁)

Following the opening event in which Xiao Lu's shot at her own installation, Dialogue (1989), which caused the exhibition at the National Art Gallery in Beijing to close, the work has...
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Jac Leirner’s Lung and Untranslatability

Made of 1200 cigarette packs, Jac Leirner’s Lung works both reflect the consumerism of which they are born but also transcend far beyond it while conjuring tropes from Minimalism, Conceptual Art,...
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Marianne Brandt’s Bauhaus Timepiece

Marianne Brandt was the only woman to receive her degree in metal at the Bauhaus. Elizabeth Otto here focuses on Brandt's iconic table clock and unpacks the legendary design aesthetic that she...
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Liubov’ Popova's Objects from a Dyer’s Shop, 1914

Liubov’ Popova's practice involved an active engagement with multiple movements and -isms in a relatively short period of time. In this essay, very formally distinct and different works by Popova,...
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To Cast Doubt on the Assumed Nature of Things: An Interview with Lucrecia Martel

On May 2019, the Argentine filmmaker Lucrecia Martel was invited by the Patricia Phelps de Cisneros Institute to give a lecture at MoMA. Martel’s first feature film, La ciénaga (2001), attracted a...
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The Future of Control: Luis Fernando Benedit’s Labyrinths Series

In 1972, Argentine artist Luis Fernando Benedit installed a hydroponic greenhouse environment, containing seventy tomato plants and fifty-six lettuce plants artificially supplied with light and a...
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Neville D’Almeida’s Mangue-Bangue (1971): Producing Evidence Against Oneself

Shot in 1970 in Mangue, Rio de Janeiro’s poorest red-light district, and the city’s financial district, Neville D’Almeida's Mangue-Bangue, presents a portrait of the “normality” of marginalized...
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Huang Yong Ping on His Autobiographical Long Scroll in MoMA's Collection

Huang Yong Ping talks about how the exhibition Magiciens de la terre (1989) in Paris changed his artistic practices and life trajectory in this conversation with Sarah Suzuki, Associate Curator of...
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Farkas Molnár’s Vision of the City of the Future

A postcard of a lithograph by Farkas Molnár (1897–1945) is one of a series of twenty postcards printed and marketed to publicize the 1923 Bauhaus exhibition in Weimar. Designed to convey a...
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Workshops for the New Woman: Loheland at 100

Exactly one century ago, Walter Gropius established the now famous Bauhaus in Weimar, Germany, but few know that only 100 miles away another center of utopian artistry and intellectualism opened...
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"Kingelez Visionnaire"

The sculptures of Congolese artist Bodys Isek Kingelez (1948-2015) offer a vision of a future modernity that is beautiful, harmonious, and functional. This essay traces the artist's career from...
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Underground Publishing in the Last Decade of East Germany

This essay is a rare glimpse into the alternative publications of East Germany in the 1980s. Through an overview of the magazines of the period, and a close reading of various images,...
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Sudhir Patwardhan in Conversation with Prajna Desai

The Indian artist Sudhir Patwardhan is chiefly a painter in the realist tradition moving between images of the city, inhabitants, and milieu. Along with bodies and buildings, his traverse charts...
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Tea Is Coffee, Coffee Is Tea: Freedom in a Closed Room

In this sardonic text, acclaimed Syrian filmmaker Ossama Mohammed bitingly describes the conditions of filmmaking under the Ba'athist regime in Syria. Under strict control of the National Film...
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A Look at the Czech and Slovak Avant-Garde within the Frame of the Bauhaus Network

2019 marks the centenary of the Bauhaus, which, during its short existence, became one of the most influential art institutions in Europe. Its active members constituted an international network...
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Subversive Embodiment in Authoritarian Times: Paz Errázuriz’s Archive of Sex and Gender...

Paz Errázuriz’s photographic oeuvre coincided with that of a group of artists working in the late 1970s and ’80s in Chile who dedicated themselves to an "aesthetic of the margins". Drawing on...
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The Unhappy Ambiguity of Clemente Padín: Politics and Polysemy in Latin American Mail Art

In this essay, Michaëla de Lacaze engages in a close reading of Happy Bicentennial (1976), one of the most radical pieces of mail art created by artist and poet Clemente Padín during the Uruguayan...
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“Lily-White”: Joel Robinson and Black Identity in MoMA’s Good Design Program

American textile designer Joel Robinson remains an enigmatic figure despite his inclusion in MoMA’s collection. In 2017, a chance research encounter by the author and colleagues at a New York...
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Three Breakfasts with Indira Gandhi: Prabha Sahasrabudhe’s Reminiscences of the Children’s Art...

This text is a reimagined transcription of a series of conversations between Prabha Sahasrabudhe and Indira Gandhi that took place in 1960 at the Westbury Hotel in New York City. At the time,...
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Empatía y complicidad en America’s Family Prison de Regina José Galindo

Desde finales de los noventa, la obra de Regina José Galindo se ha caracterizado por denunciar distintas formas de opresión y violencia en la sociedad contemporánea. Uno de los temas recurrentes...
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Empathy and Complicity in Regina José Galindo’s America’s Family Prison

Since the late nineties, the work of Regina José Galindo has been characterized for denouncing different forms of oppression and violence in contemporary society. One recurring theme in her...
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The Subject of Nonobjective Art

One hundred years ago, Kazimir Malevich’s Suprematist Composition: White on White and Aleksandr Rodchenko’s Non-Objective Painting no. 80 (Black on Black) hung side by side in the Tenth State...
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Looking South: Lincoln Kirstein and Latin American Art

Wartime espionage, and a search for “Latin Americanness” in artistic practices, was the dual mission that sent Lincoln Kirstein to Latin America in the 1940s. This essay charts these travels in...
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Maximum Profit—Minimum Time

Raised during the socialist period of the former Yugoslavia, Irena Lagator Pejović examines two case studies of Yugoslav art and architecture that provide insights into Montenegro’s transition to...
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Subjects and Subjugation: Swahili Coast Studio Photography in Global Circulation

By the 1850s, commercial photography studios could be found all across the globe, with people in disparate locations holding similar standing poses in front of standardized backdrops. In this...
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Conversation: Zofia Kulik with David Senior

A major new publication, Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology, presents key voices of this period that have been reevaluating the significance of the...
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Pre-Figuring Kinshasa City Dwellers in the Streets of Léopoldville: The Photography of Jean...

Since the 1990s, Jean Depara has become famous for his portraits of brash city dwellers, and for his hedonistic depictions of their unbridled nightlife. This essay explores how Depara’s...
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Rubem Valentim and Ibrahim El-Salahi: Strategies of Hybridization and Abstraction in the Global...

Julián Sánchez González analyzes the resonances between the Brazilian artist Rubem Valentim and the Sudanese artist Ibrahim El-Salahi by focusing on two paintings belonging to MoMA's collection....
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The History That Did Not Come to Pass: Naeem Mohaiemen in Conversation with Sarah Lookofsky

MoMA’s C-MAP research program developed an extended focus on historical alliances such as Bandung, the Non-Aligned Movement (NAM), pan-Africanism, pan-Arabism, and other south-south, east-east,...
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Feminism for Me Was About Equal Pay for Equal Work—Not About Burning Bras: Interview with Zarina...

This interview with Zarina considers the artist’s life and work as a bridge between New Delhi and New York, weaving together distinct temporalities and traditions of modernism and abstraction, and...
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Seeing Sheela Gowda’s “of all people” in Bangalore

Cara Manes participates in MoMA’s C-MAP Asia group research trip to India and Bangladesh in January 2018. Of the many new and elucidating experiences she had while abroad, she found her time spent...
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Ewa Partum as a Cultural Producer

In this essay, Karolina Majewska-Güde explores the history of Galeria Adres, which the feminist Polish artist Ewa Partum launched in Łódź in 1972. Through unrivaled access and meticulous attention...
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Eugenio Dittborn: From the 1970s to the Present

Renowned Chilean art critic, Adriana Valdés, visited MoMA to talk about the works of Eugenio Dittborn. During her visit, she not only thoroughly discussed the importance and semantic weight of...
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Juan Acha: La Revolución Cultural / The Cultural Revolution

In August 14, 1970, art critic and theorist Juan Acha published the text “La revolución cultural” in the Peruvian weekly magazine Oiga. The critical essay is available here in the original Spanish...
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Part 1: Lygia Clark: At the Border of Art

Curator Christine Macel traces the connections between Brazilian artist Lygia Clark’s fascination with psychoanalysis and subsequent exploration of the body and mind in art. Part one of this essay...
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Book Washer, Shaman, and Bug Keeper: A Conversation with Huang Yong Ping, Part II

“Because I am alive, I work,” says Huang Yong Ping, who has not stopped challenging the notion of art since 1986, when he and some fellow artists, who made up what is now known as the "Xiamen Dada...
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Mechanical Reproduction from Premise to Press

In this essay, MoMA librarian Jennifer Tobias takes a recent trip to the Paper Conservation Lab as a jumping off point to explore the ins and outs of mechanical reproduction in the 1920s....
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Baltic Exile and Emigrant Communities: Hell’s Kitchen Collective in New York

In this essay, Andra Silapētere introduces two key figures of the Hell's Kitchen group of Latvian exile artists in New York. The work of the group will be featured in an exhibition this November...
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Three Breakfasts with Indira Gandhi: Prabha Sahasrabudhe’s Reminiscences of the Children’s Art...

This text is a reimagined transcription of a series of conversations between Prabha Sahasrabudhe and Indira Gandhi that took place in 1960 at the Westbury Hotel in New York City. At the time,...
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Geta Brătescu’s Portfolio

Geta Brătescu, whose career began in the 1960s and continues until today, is a pivotal figure in the history of post-war Romanian art. Working under the repressive political regime of Nicolae...
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A Decade in Art: Dora Maurer in the 1970s

Since completing her studies in printmaking in Budapest in the late 1950s, Dora Maurer has emerged as one of Eastern Europe’s most rigorously experimental artists of the past fifty years. Her work...
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LA FÁBRICA: Art as a Tool for Citizen Mobilization

Bringing together multiple testimonies and reflections related to the history and legacy of the textile community of Tomé, LA FÁBRICA. Trazado de una investigación is an artistic-curatorial...
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Lagos in Motion: A Visual Account by Armin Linke

Armin Linke (Italian, born 1966) is a traveler in search of strange, yet familiar frontiers; his photographs spring from a peripatetic practice that has taken him from the slopes of the massive...
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post Presents: Translating Feminism

The word feminism was the subject of a public conversation that took place on November 18, 2014, at MoMA. Under the heading “Translating Feminism,” Cecilia Fajardo-Hill, Agata Jakubowska, and...
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Vkhutemas + Bauhaus: On Common Origins, Different Futures, and Creation with Fire

In the wake of the First World War, two interdisciplinary art schools with similar values were established in Germany and in the Soviet Union: the Bauhaus (1919–33) in Weimar and Vkhutemas (1920–...