New York

“Zones of Conflict”

Pratt Manhattan Gallery

Debates and discussions around the profoundly contradictory, and often uncomfortable, interrelationships of art, aesthetics, and politics have been in motion for decades. Numerous exhibitions, panel discussions, and other events have been organized to address these worthy issues, yet we remain, after two decades of increased networks of globalized artistic exchange, unable to effectively trace the social reverberations. Such uncertainty seemed to be the undercurrent of “Zones of Conflict,” a modest group exhibition intermixing documentary, postdocumentary, and hybrid docu-fictive photographic and video-based practices that confront, testify to, register, and de-realize actual territories of war.

In his absorbing, theoretically savvy, yet ultimately unsurprising essay accompanying the show, curator T. J. Demos, a contemporary art historian and critic, writes of the urgency to examine “recent

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