THIS PAST FALL, with the consecutive openings of six “Asian biennials,” the deliquescent 1990s and early-2000s trend toward establishing new large-scale exhibitions in increasingly far-flung locales bore fruit, such as it is. And as might have been anticipated, these shows were also attended by the repeatedly aired critiques that such efforts do little more than adapt a late-nineteenth-century model of display to newly ascendant societies; and, further, serve as highbrow smoke screens cynically deployed in the service of nationalist political regimes, neoliberal economic interests, or narrow