ONCE UPON A TIME, for most of the art cognoscenti, Hong Kong resembled a Wong Kar-wai film still. Then Art Basel happened. So it was all the more exciting to visit the city for a brand-new occasion: the inaugural edition of Booked, launched by Tai Kwun Contemporary. Since officially opening its doors to the public this past June, Tai Kwun, which is housed in the Tai Kwun Center for Heritage and Arts—a major redevelopment project in the former Central Police Station backed by the Hong Kong Jockey Club—has welcomed more than a million people. According to the museum’s statistics, one-fifth

THE PLAN FOR THE FOURTH EDITION OF THE BIENNALE INTERNATIONALE DE CASABLANCA, held from late October to early December, was to raise the profile of the event in a manner befitting the economic and cultural significance of Morocco’s biggest city. In prior editions, initiated by the Moroccan photographer Mostafa Romli and run through a foundation called Maroc Premium, the biennial wasn’t really achieving that. Its quality was middling; it had neither the means nor the glitz to rival the Marrakech Biennial, which was founded in 2004 by the British entrepreneur Vanessa Branson. This year, however,

WE HAVE A BIENNIAL, what are we to do with it? It is so indivisible and so . . . ours.

If Osip Mandelstam rejoiced to see his body blow warm breath against “the window glass of eternity,” it still remains to be seen what kind of mark our globalized art world may leave on the Future. The millennial explosion of biennials and large-scale exhibitions has paved a global highway for the circulation of contemporary art, giving rise to an international community with its own vernacular—instead of shibboleth, we have Szymczyk. We’ve effectively achieved the “platform for international discourse” that

WELCOME TO THE DREGS OF THE YEAR, when all we want—or need, given the chaos of 2018—is something socially nourishing. And no, I’m not talking about Art Basel Miami Beach.

On Saturday December 8, an afternoon of overlapping talks, workshops, film screenings, and performances was brought together under the banner of “Access and Agency” at the Queens Museum in conjunction with “Queens International 2018,” the eighth edition of the truly local group show that spotlights a set of artists working in the most royal borough. This year, a lively intergenerational dialogue on abstraction, chance

AFTER ESCAPING THE GLORIES AND GLAMOURS OF SHANGHAI ART WEEK, I landed in Taipei on November 13, during election season, catching a break from the circuit of fairs and events for global art superstars. The subject more likely to be discussed among my art-world friends in Taiwan wasn’t who you bumped into at West Bund but who you were planning to vote for. If it’s true that Shanghai touches upon everything but local politics, Taipei is the opposite: There’s no way—and no need—to shun civics, anywhere.

Last December, Taiwan’s Legislative Yuan passed the Act on Promoting Transitional

THE SAME DAY Turkish president Recep Tayyip Erdoğan aggressively implicated the Saudi crown prince Mohammed bin Salman Al Saud in the murder of journalist Jamal Khashoggi, his royal highness was busy headlining the second annual Future Investment Initiative—dubbed “Davos in the Desert,” for its congregation of mega-executives and heads of state—at the Riyadh Ritz-Carlton. Despite cautious last-minute cancellations from many, the prince appeared ebullient and pithily announced the success of the conference: “More people, more money.”

The inverse—“more money, more people”—is

FOR THE NINTH EDITION of the annual LagosPhoto Festival, “Time Has Gone,” twenty-three artists hailing from Myanmar to Madagascar displayed their works across ten venues in Nigeria’s commercial capital. The four curators—Eva Barois De Caevel, Charlotte Langhorst, Wunika Mukan, and Valentine Umansky—invited participants to take up the idea of nostalgia, reinterpret the past, investigate archival practices, and, essentially, try to slow down time: an impossible twist on the festival’s themes. To my mind, the show primarily offered one thing: uncertainty.

It all started out promisingly

THE WARDROBE OF SMALL TALK must be continually refreshed; this year, during Shanghai’s unofficial art week, the once voguish ice-breaker of comparing Shanghai to Beijing proved suddenly démodé. China’s capital came up only once, during a dinner with artists Margaret Lee and Allison Katz: Margaret had just returned from a trip there, while Allison was anticipating her first visit. Symbolically, Beijing-based Philip Tinari didn’t come to Shanghai. Despite his sensible reasoning (“to attend the opening of the China show at SFMOMA and the David Diao catalogue launch in New York,” he told me two

FOR TWENTY-FIVE YEARS, Artissima has been a key focal point for Turin, exemplifying the web that connects at least five groups: artists, dealers, collectors, curators, and museums. The city’s institutions vigorously support this fair, and last year alone, with fifty-two thousand visitors, it generated 3.7 million euros. On the morning of November 1, collectors waited impatiently at the VIP entrance to be the first to enter the Oval Lingotto arena. It was a good sign for this edition of the fair, the second to be directed by Ilaria Bonacossa. This year, great attention was paid to contemporary

THE STAINS WERE HARD TO CLEAN. Even after the crime scene had been cleared, the sidewalk was still a faint bloody red. Days before YAGA—a new festival celebrating São Paulo’s nightlife and queer subcultures—took over the popular downtown club Love Story, Jessica Gonzaga, a trans woman, was murdered just a few blocks away. Witnesses remember her killers shouting far-right president-elect Jair Bolsonaro’s name as they stabbed her to death.

Emboldened by Bolsonaro’s victory, his supporters now flood the streets of Brazil, repeating the new president’s homophobic, misogynistic rants. These

TO PREPARE FOR THE MIDTERM ELECTIONS, I studied my NYC voter guide and spent consecutive nights watching dystopian cinema. The Purge (2013) surprised me with its clear and pointed class critique. After all, what a reasonable observer might once have imagined to be satire (see Alex Jones; “I really don’t care do u?”) is, in 2018, often bald-faced propaganda or the gleeful expression of racist and/or fascist and/or misogynist opinion. One lawless night a year when the rich can freely cleanse the nation of its underclass scum? Fuckin awesome. Even poor Pepe started out a simple slacker, remember,

ON FRIDAY, SEPTEMBER 21, 2018, thirty-three-year-old queer activist and performer Zak Kostopoulos was killed in the streets of central Athens. His attackers, who brutally beat him in a jewelry store, where he sought refuge after being harassed by three other men at a cafe, have not been charged as of this writing. And by attackers, I mean not only the two men who commenced the hate crime but also the police who continued to exert excessive and unwarranted violence toward Kostopoulos after (finally) arriving on the scene.

More than 140 people involved in the Athens- and Kassel-based exhibition