IF THE AUTONOMY of art was ever actually a thing, it ended with smartphones. The whole time I was visiting “Walls Turned Sideways: Artists Confront the Justice System” at the Contemporary Arts Museum Houston on October 6 of last year, I was painfully aware that if I pulled out the screen in my pocket, I might have to confront that inevitable, disheartening headline: SENATE CONFIRMS KAVANAUGH. The white cube was no antidote to the nausea of the present. If aestheticism’s belief in art’s distance from social and political concerns still endures, it does so only in the negative, as a sense of

FOR MUCH OF NOVEMBER 2018, raging wildfires made particulate matter levels dangerously high in the Bay Area. Eyes watered, schools closed, art openings and lectures were canceled. People fled to LA, never known for its air quality, for bluer skies. It became matter of course to wear N95 respirators if you could find them. Lines snaked around hardware stores, and San Francisco’s young, affluent demographic patiently waited for theirs, just as they do in queues for the latest must-have artisanal ice cream.

This is not to draw too emphatic a comparison between the arts and the effects of global

NOVEMBER 13–25, 2018—I give three readings/talks in London, one in Oxford, one in Berlin; and I deliver a paper at a Kathy Acker symposium in Karlsruhe. Throughout the trip devastating fires rage in Northern California, the Bay Area air quality going from unhealthy—red on the AirNow infographic—to very unhealthy: purple, and then brown, like a blood clot. I call my husband, and urge him to use the air filter; I log onto Amazon and order him an air mask for there are no air masks to be found in San Francisco. As in all disasters, you either prepare ahead of time or you are fucked.

THE LINCOLN MEMORIAL, designed by Henry Bacon, honors Abraham Lincoln, the sixteenth president of the United States. To many Americans, the memorial is a testimony to the Civil War, a reminder that the Union was once divided. It is commonly assumed that 620,000 Americans died in that war over the question of slavery. Many maintain that Lincoln prosecuted the war on moral grounds. He believed there was no moral justification for slavery, an exceptionally cruel practice that involved kidnapping African people, selling them on auction blocks, and forcing them to work without compensation as if they

PITTSBURGH IS A CITY OF THREE RIVERS and many more bridges, the latter cutting across steeply rising banks verdant and overgrown from a year of record rainfall. In many ways this is still Andrew Carnegie’s Appalachia, with the Carnegie International—this year sited exclusively in the institution if not the actual building that he opened in 1895—an emphatically historical bequest. Ingrid Schaffner, a Pittsburgh native, suggested as much in her opening remarks to the fifty-seventh edition, which she helmed, calling the show “august” and everywhere relating it to its place of becoming.

A VALEDICTION FORBIDDING MOURNING

after the rain hit

the creosote the sun

hit it & a fragrance

wild & sweet was hitting

me, a springtime

sensation of rising seed

confusing the seasons

undoing the doom i clasp

& unclasp like the warm

gem in the keats poem

but this was not the prescription

you asked for

& the moon is full

not new. i came to truth or

consequences for my

own safety. i had passed

thru the doors of bellevue

under the sign “EMPLOYES” (sic.)

to face my parent

in donated shoes, without

her wig, clothed in hospital

issue pajamas & all her illusions

scummy, like an old fish

cooked to death

ONE OF THE OLDEST #MeToo episodes dates back more than two thousand years, and would have entered the canon of great Greek tragedy had the forefathers of Western patriarchy deigned to give it the appropriate status. But they did not—instead, they rewrote the main character’s story. For Medusa, she of the serpent mane and petrifying fame, is an interpretation of the Gorgoneion, or “Gorgon head” (gorgós being Greek for “dreadful”), an archaic protective emblem that was plastered on pottery, architectural and carriage ornaments, coins, and protective armor throughout Asia Minor and the

I DECIDED I WOULD SOMEDAY MOVE TO CHICAGO when I was in the ninth grade, as I stood in a hotel bathroom scrubbing a henna tattoo off of my arm. Prom was coming up, and my Pentecostal boyfriend thought the shooting star I’d acquired at the Navy Pier looked “trampy.” We were on our high school’s band trip to the city, marking my first adventure without my parents, who were back at home in Iowa, on the brink of a poisonous divorce. The illusion of freedom that Chicago offered was intoxicating, and I began to see a city I could aspire to: She had neither time for controlling men nor other people’s

ONE TIME WHEN I WAS ON MUSHROOMS Richard Pryor took possession of my body and proceeded to give a lecture to me and my friends on the origins of hot peppers and the true meaning of wheat.

He explained that how hot peppers got hot was terrible things were done to them, especially with fire—they were horrifically burned, in sick and twisted ways—which led to great strife and suffering on the part of the peppers. He continued that indeed the only way for a piece of matter to transmit heat and energy is for great heat and energy to have been transmitted into it. All of this was communicated not the

IT’S HARD THESE DAYS to stand out as a performance space in New York. Every arts venue in the city seems to be developing a hybrid visual art and performance program: the Whitney Museum of American Art, the New Museum, the Museum of Modern Art and MoMA PS1, the Park Avenue Armory, Performance Space New York. Even the Metropolitan Museum of Art has a performing arts series. So what’s a new cultural venue to do? One idea is to make it really, really big—say, two hundred thousand square feet. Another might be to hire Diller Scofidio + Renfro to design an eye-catching structure with some kind

In conjunction with our special feature on what, where, who, and when is Enlightenment in the Summer 2018 issue of Artforum, scholar Jennifer Uleman contributes thoughts on the phenomenology and reality of reason.

IN 2004, I was part of a public debate, designed to take up a controversy, engage the off-campus community, and maybe generate new dues-paying members of our departmental Friends of Philosophy. The debate was on same-sex marriage. Like most of the audience, I was in favor, qualms about heteronormativity notwithstanding; the university’s Catholic chaplain was against. We were in Miami.

LATE IN THE SUMMER OF 1999 I was in love with a crust punk. We met one night when he and his friend panhandled me after I couldn’t get into a nightclub. Well maybe it was more of a bar. I don’t know because I couldn’t get in. I didn’t have a fake ID. Anyway, the friend was pale and skinny, scabs up his greenish arms. He just made the guy, who said his name was Johnny, look better. Johnny was hale and tan in his boots and ripped t-shirt. He got kicked out of seventh grade, he said, for reading Isaac Asimov, and out of his girlfriend’s Boston College dorm because he wanted her to open her eyes