Spread across more than seventy-five locations and fifty live performances, featuring work by 220 artists from thirty-three countries, the seventh edition of the Glasgow International—the second helmed by Sarah McCrory—lived up to its name as a biennial that is at once both deeply local and ambitiously international. This year’s commissioned Director’s Programme was organized around what McCrory described as “the legacy of industry and the relationship artists have to making, production, and craft.” Given Glasgow’s historical transformation from industrial powerhouse to postindustrial