The goal of the Sixth Athens Biennale, titled “ANTI” and curated by Stefanie Hessler, Kostis Stafylakis, and Poka-Yio, was to provide a screenshot of the era of “post-truth” and fake news, in which mechanisms of resistance have been appropriated by reactionary movements operating in tandem with the rise of populism. Inasmuch as reality is at best fugitive and ambiguous, and at worst impossibly complex and subjective, the ambition of the endeavor necessitated its apparent failure. With the work of more than one hundred artists and collectives, the show as a whole resembled nothing so much as a