IF BONG JOON-HO’S PARASITE WERE AN EQUATION, it would be expressed as Space = Class². Bong’s rippling socioeconomic comedy lays out inequality in both schematic and organic terms: two diametrically opposed worlds, two status-indicative smells (pristine affluence, dank deprivation), two intertwined households (each consisting of father, mother, son, and daughter). In one tight corner are the scrappy, underclass Kims, struggling to stay afloat in jury-rigged, “semi-basement” living quarters (their toilet is perched on a counter) at the wrong end of a flood-prone, bug-infested cul-de-sac. “Open

Maren Hassinger very nearly became a dancer. As it happened, two fortuitous turns in her education in the 1970s led her to create sculptures hewn of fibrous metal and knotted detritus. From her early work in Los Angeles—including the 1979 installation of twelve wire rope “trees” near the Mulholland Drive exit ramp—to her recent “mandala” of repurposed pages from the New York Times, questions of ecological and spiritual consciousness have long underscored Hassinger’s practice. She is known for works in a range of media as well as for her collaborative bent. Following last year’s retrospective at

ENCOUNTERS, BY DEFINITION, occur unexpectedly. Woven within the fabric of everyday life, like a tear, an encounter cracks the familiar. But how do you prompt this experience when the “encounters,” as the title of Timișoara’s current Art Encounters Biennial suggests, are expected to happen? One answer: you entwine the mystery of place. Located within the Banat, a geographical and historical region divided between Romania, Serbia, and Hungary, Timișoara has been defined by centuries of migration, both forced and voluntary, and is home to a deeply rooted, at times conflicted, ethnic diversity. (

I HAD FORGOTTEN how brutal London can be. Brutal in the sense that there is nothing effortless about everyday life in this gray world capital. After four days of tubing, training, queuing, and sprinting around the seventeenth edition of the Frieze Art Fair, I was back on a plane across the big pond. Sinking into my seat, finally feeling somewhat at rest, I opened Benjamin Moser’s Susan Sontag biography to page forty-nine, where I had left off when my plane had touched down on the tarmac at Heathrow a few days prior: “I’m only interested in people engaged in a project of self-transformation,”

AS A DRAG QUEEN, it’s easy for me to relate to the burlesque scene. Both worlds abound with larger-than-life exhibitionists, dazzling musical numbers, campy humor, punny names, and flashy female artifice. The big difference, of course, is that burlesque displays a heck of a lot more bouncing boobs, many of which were on display at the recent New York Burlesque Festival and its climactic Golden Pasties Awards.

Founded by one of the scene’s most accomplished performers, Angie Pontani and events promoter Jen Gapay, the festival dates back to 2002, which is several years after the modern-day burlesque

Part I. Youth Climate Strike in NYC

September 19

 “Fossil Fuel to the Climate Strike? We should take public transport.”

 “We have a drag queen in heels in a 40 lb. wig. Tell her that.”

STRIKING WITH GRETA’S MOM requires its own hair and makeup detail. Aside from Greta, only New York’s reigning drag queen Lady Bunny could part the sea of young strikers during last week’s blistering Friday, when #ClimateStrikeNYC protestors marched from Foley Square to Battery Park. It was as if Bunny’s presence completed the unfinished third act of Moses and Aaron by Arnold Schoenberg, who laconically noted about

AS A THEATER PRACTIONER who has participated in the presentation of work at major museums in New York City and Europe, I’m no stranger to how the art world loves “hybrid” works of performance, which usually means the poor medium gets run through the blender of conceptualism in the name of some opaque inquiry, only to be spat back out in a so-called novel gesture. Reductions of theater to “performance” are often also thin, begging the question: How does an art practice grow when the porous social exchanges that feed its makers emotionally and aesthetically have been so utterly misappropriated by

ONE OF THE FIRST THINGS YOU SEE when entering the Chicago Architecture Biennial, from either entrance, is a gray land acknowledgement sign with crisp white type: “Chicago is part of the traditional homelands of the Council of the Three Fires: the Odawa, Ojibwe, and Potawatomi nations. Many other tribes—such as the Miami, Ho-Chunk, Sac, and Fox—also called this area home. . .” Such recognitions have become more visible in recent years, but this text, prepared by the American Indian Center of Chicago, functions differently within its context than on, say, the bottom of an institutional website or

Ebony G. Patterson’s slow and monumental video installation …three kings weep…, 2018, debuted in her solo exhibition at Pérez Art Museum Miami last year and is on view at the Speed Art Museum in Louisville, Kentucky, until January 5, 2020, before it travels to the Nasher Museum of Art in Durham, North Carolina. For one night only, the work can also be seen in Toronto during “Nuit Blanche,” a twelve-hour event on October 5, 2019, where visitors can glimpse nearly ninety artworks set around the city. (Patterson’s work will be on view in the Scarborough Civic Centre’s rotunda as part of the group

STATISTICS TELL US THAT, at any given time, someone in our immediate vicinity has been raped—someone in our classroom, our office, someone ahead of us in line for coffee, or next to us on the subway. Which means, necessarily, that someone in our immediate vicinity has committed rape. We just prefer not to think that way, not to put the verb in the active tense, to consider that anyone—say, a fellow audience member watching Adrienne Truscott’s (Still) Asking For It on a Monday night—might have committed sexual assault. That would make rape a normal thing to do.

Which it is, as Truscott forcefully

PROJECTIONS, now in its sixth year, remains the most eclectic sidebar of the annual New York Film Festival, now in its fifty-seventh year. While at first the series seemed the heir of “Views from the Avant-Garde,” Projections has increasingly embraced works that could easily be part of the main slate or other sidebars of the Festival, in addition to films and videos by artists who were regularly presented at “Views.” Among the latter are Pat O’Neill, whose dazzling 35 mm Saugus Series (1974), recently restored by the Academy Film Archive and The Film Foundation, is being screened at this year’s

THE WEEK ROBERT FRANK DIED, the West Berlin building formerly known as Amerika Haus, now the gallery C/O Berlin, opened the exhibition “Robert Frank: Unseen.” As it happened, I was in town, staying no more than a few blocks away. The press preview was packed, the mood far from funereal—Frank was already an immortal. Indeed, his first German show had been at Amerika Haus back in 1985, when the place was programmed by the USIA, the now-defunct cultural diplomacy branch of the US government. Perhaps his work should have been permanently installed there.

The title was a teaser. The show was half