You've got to dig to dig it, you dig?
Tomorrow’s Wind, 1991. Public Art Fund — Doris C. Freedman Plaza, February 17 – May 31, 1991.
Thomas Jefferson Park. Materialism.nyc.
Before Words,” 1990. Public Art Fund — Brighter Days at DeCordova Sculpture Park and Museum, June 1, 2022 – April 30, 2023.
You are a
land I can’t
stand leaving
and can’t not.
My party ship
is pulling out.
We all have
hats. I try to
toot some notes
you’ll understand
but this was not
our instrument
or plan.
Party Ship, Kay Ryan
New York Real Estate and the Ruin of American Art*, Josh Kline. October (2026) (195): 91–109. https://doi.org/10.1162/OCTO.a.539
Isn’t X Beautiful!, Odette Elix England (The Ice Plant)
I chart the psyche,
observing how I
force myself to speak
to you, imagining that
together we might
transform a life.
Why this need
to document change,
to reverse a mood,
to carry forward the time
when magnolias bloom?
Let’s follow the itinerant we
up and over the jonquil’s back,
treading on its spilled bullion.
April, Sally Van Doren
this conflict of times …
What grounds the permanence of domination …
time is … a line that can be infused with promises … It is also a hierarchical distribution of forms of life
… located the rational matrix of human activity in the obscure everyday world of the production of material existence
Jacques Ranciere, Modern Times, Temporality in Art and Politics (2018). Translated by Gregory Elliott (2022).
Solvent transfer, graphite, colored pencil, ink, gouache, acrylic, and enamel paint on paper. 18 x 12 inches. 2026. Donated to Locust Projects’ Art Auction.
Melvin Edwards’s obituary. (Frieze)
“His travels to Ghana, Nigeria, Togo and Benin informed his understanding of sculpture as a form of cultural continuity, leading him to create public works that fused African traditions with contemporary abstraction?. “
The True Things A Conversation with Naghmeh Sohrabi (Bidoun).
These Are the True Things (Substack)
An elegant man
must never be completely elegant.
There’s no man more inelegant than a despot
power is always tacky.
There’s no elegant way to invade, pillage, and kill.
Nothing’s tackier than a uniform.
Nothing’s tackier than a toga.
My Grandfather Is the Future, Victor Heringer, translated by James Young & Justin Greene (Granta)
I have signed two contracts as a poet
which are henceforth no longer binding.
I will sign a third, as a final betrayal.
I will be forgiven by everyone.
I Am Not a Poet, Victor Heringer, translated by James Young & Justin Greene
Everyday Travails, October 10 – November 7, 2009, David Castillo Gallery.
“The works reveal a structured imprint of the everyday, in the exploration of the relationship of media to the psycho-geographical, social, and political nature of place. Adler Guerrier sets drawing, collage, sculpture, photo, video, and installation in dialogue. His inspired cultural hybrid between color and plane are anchored by fearless, site-specific subversions of place and time in regards to conceptions of race, class, and culture. Often calling upon the districts of Miami and his own backyard, Guerrier examines the contemporary flaneur in an impending post-demographic age.”
Paul Claude Gardere. Flickr, 2009.
[…]
However, I have never clogged myself with the praises of pastoral life, nor with nostalgia for an innocent past of perverted acts in pastures. No. One need never leave the confines of New York to get all the greenery one wishes—I can’t even enjoy a blade of grass unless I know there’s a subway handy, or a record store or some other sign that people do not totally regret life. It is more important to affirm the least sincere; the clouds get enough attention as it is and even they continue to pass. Do they know what they’re missing? Uh huh.
Frank O’Hara, “Meditations in an Emergency”
Hilton Als on the Whitney Biennial (New Yorker)
Spontaneous Objects A Natural History of Art and Its Others (Penn State University Press, 2026)
—A Virtual Book Launch : Rebecca Zorach (Northwestern University), Monica Azzolini (University of Bologna), and Stephen Campbell (Johns Hopkins University). Apr 03, 2026, 12:00pm–1:00pm.
“In the late medieval and early modern periods, European artists, theorists, and natural philosophers imagined Nature not simply as a force of reproduction but as an artist in its own right—a creative power capable of generating images, artifacts, and objects of beauty.”