“HOW MIGHT ART take measure of the multiple mutinies and upheavals that currently beset global society? . . . How might art become integral rather than peripheral to the widespread challenge that affects not only the production of art but its reception as well, particularly in light of the deleterious effects of reactionary, conservative and fundamentalist politics on all world social formations today?” It is with these weighty and pressing questions that curator Okwui Enwezor begins his catalogue essay introducing the second Seville Biennial, titled “The Unhomely: Phantom Scenes in Global