TABLE OF CONTENTS

Vince Aletti

1 “UPRISINGS” (JEU DE PAUME, PARIS; CURATED BY GEORGES DIDI-HUBERMAN) I saw this exhibition the day after the US elections, so its photographs, prints, posters, and videos on the theme of rebellion, protest, and disruption could not have seemed more urgent. But Didi-Huberman wasn’t just trying to agitate viewers; for all its provocations, his installation was shrewdly modulated, subtle, and surprising. From Goya to Tina Modotti, John Heartfield to Lorna Simpson, his choices resonated, and every passage of the show felt electric, invigorating. Although a history of insurrection—ongoing, unending—risks winding down into futility, I left furious, ready to storm the barricades.

Lorna Simpson, Easy to Remember, 2001, 16 mm transferred to digital video, black-and-white, sound, 2 minutes, 35 seconds. From “Uprisings.”

2 ARTHUR JAFA, LOVE IS THE MESSAGE, THE MESSAGE IS DEATH, 2016 (GAVIN BROWN’S ENTERPRISE, NEW YORK) and KAHLIL JOSEPH, FLY PAPER (NEW MUSEUM, NEW YORK) Taking the black experience as cultural common

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