Fabio Mauri, Il Muro Occidentale o del Pianto (The Western Wall or the Wailing Wall) (detail), 1993, suitcases, bags, boxes, leather casings, fabric, wood, 13' 1 1/2“ × 13' 1 1/2” × 1' 11 5/8". From “All the World’s Futures.”

GETTING LOST IN VENICE, they say, is half the fun—and it’s precisely the appeal of the Venice Biennale, which, at its best, upends our established coordinates and unmoors our points of reference. For this issue, Artforum asked four distinguished contributors to cut a path through the fifty-sixth edition of the international survey of contemporary art: BENJAMIN H. D. BUCHLOH and JESSICA MORGAN assess the main exhibition, Okwui Enwezor’s “All the World’s Futures,” while CLAIRE BISHOP takes stock of artist Danh Vo’s curatorial turns at the Danish pavilion and Punta della Dogana, and ANN REYNOLDS focuses on Joan Jonas’s performances at the US pavilion.

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