“What if a journey . . . ,” the title of the third edition of the Autostrada (Highway) Biennale, curated by Övül Ö. Durmuşoğlu and Joanna Warsza, called to mind both movement and suspension. It was an apt combination, emerging amid pandemic travel bans and collateral flights of fancy, and even more so in a geopolitically charged area like the Balkans, where highways stretch across troubled pasts and present lines of demarcation. Featuring the works of thirty artists and collectives and spread across three main cities of Kosovo (Peja; Pristina, the capital; and Prizren, the biennale’s lively