And yet, the structural model of the art world remains relatively unchanged. In the art district, we still commute to museums and international biennials, pay for admission and revolve around large-scale, in-person events. These are the art world’s prescribed behaviours, and the problem is that they are insular. Although performance and moving image have made major inroads into exhibition programmes, institutions have traditionally been less supportive of works that don’t take the form of objects, and they take little advantage of the publishing potential of the Internet.
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You’ve all emailed/”@” replied/donated to Rhizome/sent good vibes to Lauren Cornell in order to thank her for writing this, right?
+ In the Nostalgia District (Frieze)
