Instead of simply preserving history or art, museums and galleries are increasingly being hijacked by charities seeking to promote a left-wing political ag
SOMETIME IN JANUARY 2016, the Instagram profile known as “@whos＿＿who” went live. Who is who? A big question, in general. Anonymous and prolific, the account places apparently similar images, usually of artworks, in comparative assemblies published as single posts. At minimum, these posts feature two artworks, but often three, four, or more crowd the frame. Offered without explanation by their anonymous comparer, the resulting combos of artworks are blank screens for their beholders’ projections. The act signed @whos＿＿who was inaugurated by a jaunty pairing of two works side by side: one by Nicole
SOMETIME IN JANUARY 2016, the Instagram profile known as “@whos＿＿who” went live. Who is who? A big question, in general. Anonymous and prolific, the account places apparently similar images, usually of artworks, in comparative assemblies published as single posts. At minimum, these posts feature two artworks, but often three, four, or more crowd the frame. Offered without explanation by their anonymous comparer, the resulting combos of artworks are blank screens for their beholders’ projections. The act signed @whos＿＿who was inaugurated by a jaunty pairing of two works side by side: one by Nicole
At a time when the basic power structures of the art world are being questioned, collectives and individuals are fighting against the very institutions funding and displaying their work.