Adam Jasper

  • Dani Gal

    In 2012, Dani Gal made a two-channel HD video installation called Any resemblance to real persons, living or dead, is purely coincidental. It was a re-creation of an oft-overlooked detail of the Black September attack on the 1972 Munich Olympic Games. As the terrorist operation (named after two abandoned Palestinian villages, Iqrit and Biram) played out over the course of a single day, the captors forced their Israeli captives to swap clothes with them in order to confuse those observing the building where the athletes were quartered. In his video, Gal had eleven actors dressing and undressing

  • Robert Kinmont

    After dropping out of the art world for thirty years, Robert Kinmont has returned to a mostly cordial welcome as a missing member of the generation of John Baldessari, Bruce Nauman, and Ed Ruscha, but he may be even better than this sympathetic “school of” reception suggests. His work tends to attract such adjectives as post-Minimal and Conceptual, but it is warmer, more modest, and more playful than those words imply.

    Take the relationship between Glider, 1973, a Super 8 film, and a companion piece, Trying to Understand, 2015, a digitally restored and shortened version of this original, presented

  • “Theatre of the World”

    Alternately described as a Bond villain’s lair or a subversive Disneyland for adults, MONA, the Museum of Old and New Art, has been serving up an anachronist’s menu of dismembered culture since opening in 2011. The museum was founded in Hobart, the southernmost city in Australia, by the gambling millionaire David Walsh as a home for his collection of antiquities, artifacts, and contemporary art. Cut directly into a promontory on the Derwent River, the complex resembles a network of bunkers, a museum for the end of the world in every sense. “Theatre of the World,” MONA’s current show, features