In recent years, sites of protest—Tahrir Square, Zuccotti Park, Taksim Square—have functioned in large part as visual interventions in the fabric of the city. As such, they’ve made claims on attention, time, and space on behalf of those excluded from the normal running of things. These provisional encampments took something from several disparate spheres—political demonstrations, the squatters’ movement, refugee and homeless camps, even music festivals—and fashioned them into something new: One might almost say a genre where politics and the image met on updated terms.

Nikita

“American Producers” was the second iteration of the Playback Room, a project series organized by Wolfgang Tillmans that proposes that the art world attend to music on the latter’s own terms. The project aims to present music at its intended playback quality and to submit it to contemporary art’s viewing habits and interpretive frameworks. Here, visitors entered Between Bridges through a tunnel designed by artist Anders Clausen into a white-walled exhibition space sparsely arranged by Tillmans in collaboration with Clausen: Ten wooden chairs stood in two rows facing a top-end hi-fi system