• Wu Tsang, DAMELO TODO // ODOT OLEMAD (Gimme Everything // Gnihtyreve Emmig), 2010/2014, production still from the 25-minute color video (with sound) component of a mixed-media installation additionally comprising wood, mirrors, carpet, and a bench.

    Wu Tsang

    Migros Museum für Gegenwartskunst

    In spite of its defiant title, “Not in my language,” mutinously followed up by an electric-blue neon sign reminding entering visitors that THE FIST IS STILL UP (a work ironically titled Safe Space, 2014), Wu Tsang’s European institutional debut was an accessible best-of sampler. The exhibition encompassed his portrayals of race, sexual identity, and emerging forms of life, ranging from LA’s latest queer/transgender subset to Berlin’s clubby-organic everyday along the Berghain-Kreuzberg-Schöneberg axis. In other words: It was quite a stretch.

    Once upon a time, there was the Silver Platter, a bar

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