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 Internationalthe second helmed by Sarah McCrorylived 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 shell, and its more recent reemergence as an important center of artistic and cultural production, this might initially seem an overly capacious rubric, but it proved an apt lens through which to consider a wide range of artistic engagements with the city’s spaces and their histories.
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