As Glaswegian novelist Alexander Trocchi wrote in his spellbinding essay “The Invisible Insurrection of a Million Minds” (1962), “There is in fact no such permanence anywhere. There is only becoming.” His words reflect a city that was once “the workshop of the world”—but has in the last twenty years emerged from industrial decline as a post- Fordist shopping and services center. This spring, the already vibrant art scene in Glasgow was electrified by the third and largest installment of Francis McKee’s Glasgow International.

In many of the Glasgow International projects and events, McKee’s loose