This past summer, the fourteenth edition of Manifesta, the nomadic European biennial, unfolded in Kosovo’s capital, Pristina. Stretched out across twenty-five venues, with more than one hundred artists and collectives, the hundred-day biennial—titled “It matters what worlds world worlds: how to tell stories otherwise”—explored multiple modes of collective storytelling. For its “creative mediators,” Catherine Nichols and Carlo Ratti, a central theme was Kosovo’s unsuccessful privatization following the 1998–99 war. The exhibition was housed mostly in the facilities of state-owned enterprises,