Museums Will Not Save Us, Annotated

“The Ultimate Fight ring had not yet been erected on the White House lawn.”

The first line of the survey I did for Art in America of museums’ America 250 shows already locks it into a slightly less bleak past, April, when this stupid UFC thing did not yet stand. And reading the piece for the first time in over a month, I gotta say, it goes downhill from there.

The headline is, “As the Country Turns 250, Why Won’t Its Museums Meet The Moment?” My editor’s working title for the piece was “Picturing Independence”; mine was “Museums Will Not Save Us.” It started bleak, and it got bleaker, but I am grateful for the opportunity and the insights and all the folks who helped along the way.

For reasons beyond me that perhaps relate to the article appearing first in print, the links I used for reference do not appear in the Art in America published version. So I’ve gathered them here, like bonus content for a DVD. [Ask your parents.]

“As the Country Turns 250, Why Won’t Its Museums Meet The Moment?” [art in america, summer 2026]

A YouTube video of the bonkers CG history of America projected on the Washington Monument beginning on New Years, 2026:

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You Had Me At Orange, Glowing Orb

Whether for utility or poetry, the alt text has not sunk into the lower layers of Gagosian Quarterly. Editor Wyatt Allgeier’s interview with Nancy Spector about her Arthur Jafa/Richard Prince show, “Helter Skelter” has exactly one image with an alt tag. The rest are from the related articles links in the footer:

Video still of orange, glowing orb against black background

Black-and-white portrait of Wyatt Allgeier

Black and white portrait of Nancy Spector

Rollin’ High and Mighty Traps: Richard Prince

Richard Prince: Cowboy

Richard Prince

NGL, the show looks better than it sounds.

Highlights Alt Writing

a screenshot of an email from a gallery before I load the images

The biggest megagallery in the art world publishes a print magazine with features on the most influential artists of the day. As a tribute to these important efforts to keeping art writing alive, here is the alt text from the images in the Gagosian Quarterly Highlights from May 2026 email:

Chanel High Jewelry ad features a diamond necklace in the shape of a perfume bottle against a black background

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The Wives of Genius Club

a top down photo of small flowers growing in dark soil: purple, red, pink/white, light blue, a 1992 work by felix gonzalez torres of alice b toklas and gertrude stein's grave, this img via christie's 2005
“Untitled” (Alice B. Toklas and Gertrude Stein’s Grave, Paris), 1992, ed. 1/4+1AP plus some other prints now considered non-work, but which are conceptually very fecund, this one sold at Christie’s in 2005

One of the great surprises in the exhibition catalogue for Felix Gonzalez-Torres (Always To Return)—which I brought up to curators Charlotte Ickes and Josh T. Franco in our conversation yesterday—is the essay by Joshua Chambers-Letson about Felix’s 1992 photo of flowers, “Untitled” (Alice B. Toklas and Gertrude Stein’s Grave, Paris). Chambers-Letson discusses the work as portraiture, and in the context it’s traditionally been seen in, of “queer death, queer grief, and queer love.” But then pivoting to the work as an affirmation of queer life, he proceeds to expand on Stein and Toklas’ relationship as a complicated but revolutionary and rather boldly open example of queer companionship in a hostile world.

Chambers-Letson traces the contours of Stein & Toklas’ relationship IRL and in The Autobiography of Alice B. Toklas. Its queerness stands as “the open secret at the heart of the book” in which Stein places Toklas “among the ‘wives of genius.'”

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Read Black Block at Triple Canopy

Rachel Hunter Himes’ incredible essay for Triple Canopy, Black Block, sat in my tabs for weeks, but after hearing her talk about it with Helen Molesworth on the DZ podcast, I realized it’s not the kind of thing to be sleeping on. It ended up changing the essay I’d been so stuck on in crucial ways.

Working back from the shiny, happy, BTS artist lifestyle genre of art writing, Himes traces out a historic and ongoing failure of critics and institutions to engage substantively with the work of Black artists. It’s thorough and incisive, both then and now, and kind of devastating. But there’s a liberation in the realizations she prompts, even if there’s also a sting of complicity.

It’s her account of the most recent past, where urgency and relevance and representation have dominated, that hit me the hardest right now, as I’ve tried to figure out what difference art, artists, and art institutions can make in the fascistic world we’re inhabiting. The tl;mr [too long; must read], though, is that we’re not gonna get out of this by buying a painting or putting on a show:

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Fire and ICE

“Minneapolis’ Phillips neighborhood is named for Wendell Phillips, a fervent abolitionist. He was once asked why he couldn’t turn down the heat in his rhetoric: why are do you always have to be so firey? Phillips’ reply: ‘Yes, I’m on fire–because I have mountains of ice to melt!'”

The invocation of Phillips by composer and writer Frank Hudson has been doing numbers on Bluesky. It’s only one of a thread of posts about Minneapolis neighborhoods named after abolitionists.

As he writes in a recent blog post about having to set music aside to fight the forces of fascism and terror on the streets of his hometown, Hudson came to the Phillips quote the way so many have: it was a favorite of the late MN senator Paul Wellstone. He closed a March 2000 speech at an educators conference about the foundational importance to democracy of education with it:

That reminds me of a quote that has motivated me throughout my life. It is my favorite quote. It is from Wendell Phillips, an abolitionist from the 1840’s. At that time both political parties were very weary of the slavery issue and they weren’t sure how to confront it. But not Wendell, he just said slavery was a moral outrage, that it was unconscionable, and he wouldn’t equivocate. He wasn’t afraid to speak out.

After he gave a particularly fiery speech about abolition, a friend came up to him and said, “Wendell, why are you so on fire?”

And Wendell turned to his friend and said, “Brother May, I’m on fire because I have mountains of ice before me to melt.”

We have mountains of ice before us to melt. Thank you for your energy, your time, your love for children and your passion to do what is right. It has been an honor to be here.

And it was cited in memorials to Wellstone after his death in a plane crash in 2002.

I could not find Wellstone’s version of the exchange, though. But I did find Wendell Phillips repeating it in 1879—at the funeral of his longtime friend and fellow abolitionist William Lloyd Garrison:

He [Garrison] said to a friend who remonstrated with him on the heat and severity of his language, ‘Brother, I have need to be all on fire, for I have mountains of ice about me to melt.’

Garrison co-founded and edited The Liberator, and founded—with Phillips and others—the New England Anti-Slavery Society, which advocated for full, immediate, and uncompensated emancipation of enslaved people in the US. It was Garrison’s call for full Black liberty and equality, grounded in the “self-evident” truths of the Declaration of Independence, that was considered unhelpfully extreme in the 1830s, when other early abolitionists were calling for gradual emancipation and the expulsion of Black people—both freed and enslaved—from the US.

The earliest mention of the story is from 1840, in a eulogy for the Rev. Charles Follen, who’d taken up the ministry after being fired from Harvard for his abolitionist views. Follen died in a fire on the steamship Lexington, and churches in Boston refused to host the Anti-Slavery Society’s memorial service for him:

He [Follen] knew that Mr. Garrison was incited to greater vehemence and severity by the coldness, and heartless indifference of almost all around him; and that nothing would so soon attemper his zeal, as to find himself supported, instead of opposed, by the wisest and best men in the community. He had heard and he felt the force of Mr. Garrison’s reply to an early friend, who was remonstrating with him on his violence of language. “Why,” said that friend, “you write as if you were all on fire.” “I have need to be all on fire,” was his solemn reply, “for I have mountains of ice about me to melt.”

That eulogy was delivered by Samuel Joseph May.

Brother May revealed himself as Garrison’s early friend in his 1869 memoir, Some Recollections of Our Antislavery Conflict. It was not just the coldness and indifference of those around him that set Garrison afire, but it was also that. May was one of several friends who asked Garrison about turning down the rhetorical heat a bit:

“But,” said I, “some of the epithets, though not perhaps too severe, are not precisely applicable to the sin you denounce, and so may seem abusive.”

“Ah !” he rejoined, “until the term ‘slaveholder’ sends as deep a feeling of horror to the hearts of those who hear it applied to any one as the terms ‘robber,’ ‘pirate,’ ‘murderer’ do, we must use and multiply epithets when condemning the sin of him who is guilty of the ‘sum of all villanies.'”

“O” cried I, “my friend, do try to moderate your indignation, and keep more cool; why, you are all on fire.”

He stopped, laid his hand upon my shoulder with a kind but emphatic pressure, that I have felt ever since, and said slowly, with deep emotion, “Brother May, I have need to be all on fire, for I have mountains of ice about me to melt.” From that hour to this I have never said a word to Mr. Garrison in complaint of his style. I am more than half satisfied now that he was right then, and we who objected were mistaken. [paragraph breaks added]

Don’t call it genocide. Don’t call it fascism. Don’t call them nazis. Don’t call it an occupation. Don’t call it kidnapping. Don’t call it disappearing. Don’t call it white supremacism. Don’t call it terrorism. Don’t call it murder.

We have need to be all on fire, for there are mountains of ice about us to melt. We are here now with multiple people murdered by agents of the state, as evergrowing crowds fill the streets to take the places of the fallen and protect their neighbors in hiding. But the goal is the same as it has been for everyone who has caught the fire and passed it along to new generations who recognize its self-evident truth: equal liberty and equal justice for all. I really hope the fire this time does not take 30 years to do its thing.

The Angle of History

All these years, Walter Benjamin’s “Theses on the Philosophy of History” (1940) has been simultaneously over-quoted and under-read, to our peril:

One reason why fascism has a chance is that in the name of progress its opponents treat it as a historical norm. The current amazement that the things we are experiencing are “still” possible in the twentieth [🙃] century is not philosophical. This amazement is not the beginning of knowledge—unless it is the knowledge that the view of history which gives rise to it is untenable.

[cuts section about the Klee which, not right now, Angel of History, Ima need you to focus!]

At a moment when the politicians in whom the opponents of fascism had placed their hopes are prostrate and confirm their defeat by betraying their own cause, these observations are intended to disentangle the political worldings from the snares in which the traitors have entrapped them.

somehow ambushing me in the appendix of the Felix Gonzalez-Torres Always To Return catalogue, available in bookstores near me Sunday!

Open Call Me: Leave Your Art Text Reading After The Beep

The world’s going to hell. I’ve got a deadline piece I’m stuck on. And my Google Voice number is set to expire unless I use it. So there’s no better time to put out a call for you to call in and share a bit of art-related writing or text that’s sticking with you right now.

When I first tried this exercise last spring, I thought it’d be a great way to find amazing or thought-provoking writing people have been saving up. But I also found it a good way to share something as I came across it, just placing a quick call, and leaving a voicemail. So.

Call the greg.org voicemail at 34-SOUVENIR (347-688-3647) and leave a message with:
* your name or handle [optional],
* you reading one brief art-related text [e.g., a sentence or two, 200 hundred or so words, a paragraph max, not a whole thing]
* the writer and source.

You can quote yourself, and if you’re sitting on a gold mine of great texts, you can call more than once, but please keep it to one quote per call. And no slop, bots or twitter.

When I get enough recordings, I’ll compile them into one mixtape and put it out here. So your recording may be used [unless it’s hateful or absolutely sucks, obv, editor’s call], but any other info goes nowhere and nothing is done with it. 

Call 34-SOUVENIR today, tonight, whenever you read something good.

Previously: Phone It In, Vol. 1: An Art Writing Mixtape

The Blood Counters Next Time

Bookforum recently emailed some links to read up on in advance of its Fall 2025 issue. On the list: Gene Seymour’s Summer 2017 review of James Baldwin: The FBI File, William J. Maxwell’s deep dive into the declassified records of the FBI’s most extensive surveillance of a Black writer. Maxwell would know, after publishing a survey of the US government’s investigations of Black literary figures in 2015, F.B. Eyes: How J. Edgar Hoover’s Ghostreaders Framed African American Literature.

What stuck out from Maxwell’s second book is Baldwin’s response to discovering in 1963 that he and the Civil Rights Movement leaders in Selma, Alabama were all being monitored by the FBI, surveilled by agents of their own country’s government, but not protected when other agents of the state attacked them. Baldwin announced, publicly and repeatedly, that his bestselling novel, Another Country (1962), his next book was going to be about Hoover and the FBI, and their central role in America’s “race problem.”

There’s evidence throughout the book that Baldwin gave back to the FBI as good as he got, baiting the easily baitable Hoover by declaring in a 1963 television interview that the director “was part of the problem in the civil rights movement.”

The book obviously didn’t happen, but it’s not clear whether Baldwin ever meant for it to, either. Was he actually was working on the book, titled The Blood Counters, or did he use the looming possibility of such an exposé as a taunt and a feint for his FBI adversaries? Maxwell traces the documentation of the FBI’s frantic efforts to find out, and to, if possible, prevent its publication.

Maxwell seems to make as much effort to present The Blood Counters as a conceptual vaporware meant to bait Hoover personally as he does on the idea that this far-reaching surveillance, involving dozens of agents and even more informants reporting from wherever Baldwin traveled or spoke, was actually a personal contest of wills between these two men. It might, in retrospect, be more useful to look at how many eager collaborators the FBI found in New York’s publishing industry, and what actual books they successfully spiked, or writers they successfully silenced.

Maxwell notes a diminished output for Baldwin in 1964, which may have represented lost work on The Blood Counters. Or maybe it was just the stress of living under government surveillance. The Blood Counters was the story Baldwin had to tell in order to live, but it’s not clear if he was telling it to himself, or just to his official menacers.

And now this all feels remarkably quaint and humane in the face of an unresrained digital dragnet that logs your DMs and knows exactly how far you haven’t gotten in your Google Docs draft.

Artworks Unfolding Slowly Over Time In Cyberspace

nayland blake's 1993 sculpture, equipment for a shameful epic, is a metal storage rack with a bar and three shelves, not a locker room product, but a commercial changing room item. but instead of uniforms or jumpsuits, the hooks are festooned with abject costumes and props: a clownsuit, a flimsy furry skunk or bunny suit, prop scythes and nooses and american flag do-rags, and on the end, rubber masks of ronald reagan. on the shelves are a fake severed leg, some wigs or scraps of fake fur, two almost burger king style crowns, and two nearly identical fake heads with mouths agape and a bullet hole in the forehead. the doubling of these various objects and the range of costumery kind of put the horror of death in quotes, an object of cheap entertainment. this sculpture is on exhibit at matthew marks in sept 2025
Nayland Blake, Equipment for a Shameful Epic, 1993, mixed media, 84 × 63 × 32 in., as installed at Matthew Marks in Sept 2025, image @zubrovich.bsky.social via @naylandblake.bsky.social

Seeing the picture in my timeline from Nayland Blake’s Matthew Marks opening last night of Equipment for a Shameful Epic, 1993, sent me back to the first time I’d seen it, alongside their great 2008 conversation with Rachel Harrison published by Bomb Magazine. Which is ironic, because they start that conversation by exploring the differences between seeing a work of art in person—experiencing it—and seeing a picture of it online.

Actually, they start by lamenting the lack of issues or consensus of “ideas the community of artists was grappling with,” and then they go deep into what turns out to have been one of those big ideas: image vs. object, and the specific physical, psychological, and emotional experience an artwork can elicit. Which, it turns out, is intrinsic to how both artists work:

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On Main Posting Lolita

Jonathan Main has died. Main ran a bookshop in South London called The Bookseller Crow On The Hill, a person and a store beloved by the community that formed around them.

I mention it because I did not realize until now that Main was also the blogger who, in 2010, noticed that Penguin Modern Classics had stripped out the first section of Vladimir Nabokov’s Lolita. Written as a fictional foreword by pyschologist John Ray, Jr., PhD, the section is the frame for the entire story.

Within days Penguin announced they were pulping the edition. [h/t @john-self.bsky.social]

Main published his blog on TypePad, which recently announced it would be discontinuing its platform, and deleting everything hosted there. Main’s blog, at least, is preserved by the Internet Archive, while the rest of us can keep the memory of his lolwtf discover alive.

Man on Fire in Country on Fire

a life-size fiberglass statue of a cocoa brown man, nude, with left arm raised, legs wide astride a knee-high barrel, is engulfed in orange red and yellow airbrushed flames that encircle his head and arm like a fiery wing. the figure stands on a grey painted mdf pedestal, over nine feet tall. luis jimenez's 1969 sculpture man on fire is installed against a chocolate painted wall and black painted 19th century industrial column at the smithsonian american art museum in dc, and trump hates it so much he condemned the show which he's never seen, in an executive order.
Luis Jiménez, Man on Fire, 1969, fiberglass in acrylic urethane resin, like 9 ft tall, installed in “The Shape of Power: Stories of Race and American Sculpture at the Smithsonian American Art Museum”

In June I did a whirlwind survey of almost all the museums, art and otherwise, in Washington, D.C., and wrote about it for ARTnews. It’s in their latest print issue, and it just dropped online.

For a series of museums I’ve been visiting for years, it was a repeatedly revelatory experience. Luis Jiménez’s Man on Fire is a case in point, a stunning sculpture that stands between the columns of the Smithsonian’s Old Patent Building at the flaming center of “The Shape of Power,” the first exhibition singled out for criticism in a presidential executive order.

And I felt the urgency of the decades and centuries of work, both in art and history, and in the museums’ presentation, study, and care of these objects. We’ll get a more perfect union yet, but let’s not destroy the imperfect one we have on the way.

D.C.’s Museum, Under Attack by Trump, Have Never Been More United In Their Purpose [artnet]

To Accept Completely The Values Of The Establishment In Which They Seek A Place

barnett newman's 1955 painting uriel hanging on a white wall at the art institute of chicago, is eight feet tall and eighteen feet wide. the right quarter of the canvas is a deep reddish brown, the color of old blood, perhaps, and the rest of the canvas is a pale aqua blue that might have been used on fiestaware or a bathroom tile in the 1950s, a disturbing combination. the border between the two color fields is made of a couple of newman's so-called zips, vertical stripes with rough, brushy, or clean-taped edges. one of these stripes is a deep aquamarine blue, but tbh, that is not apparent from this photo, which was taken by tocho t8, a blogger, in 2021. uriel spent decades in two private european collections, and was rarely reproduced. most of the online images of it are garbage, tbqh
Barnett Newman’s Uriel, 1955, 8 x 18 ft, installed at the Art Institute of Chicago in 2021 by the grace of its new owner, and photographed there by blogger Tocho T8

Jim Long’s Summer 2002 essay in the Brooklyn Rail on Barnett Newman’s crisis with painting in the mid-1950s, and the one painting he managed to make in two years, Uriel (1955), is great and insightful, but the last two paragraphs, one his, and one quoted from Newman, came out of nowhere and left me absolutely stunned:

“There is one more story that properly belongs to the period of Newman’s hardest struggles. In 1968, during the social and political events and dialogue, the publisher of Horizon Books asked Newman if he could publish a volume of his essays, notes, and statements. Newman replied that he would prefer it if Horizon would republish Peter Kropotkin’s Memoirs of a Revolutionist, and that he would write an introduction, in the hope of making a contribution to the dialogue going on within the Left. Horizon agreed, and in Newman’s introduction he allowed himself only one small personal digression:

In the ’40s, when artists got together of an evening, there was always someone who insisted on playing surrealist games. I recall one evening when everyone in the room had to say what destroyed him. I remember what I said. I said that I felt destroyed by established institutions. I was surprised to hear one of the artists present say that what destroyed him were people. He was perhaps wiser than I, for I had to go through that Darwinian lesson. Looking back, I think we were both right, because only those people practice destruction and betrayal who hunger to accept completely the values of the establishment in which they seek a place. It’s the establishment that makes people predatory.

Uriel was purchased in 2021 by Ken Griffin, in a deal organized by James Meyer and Iwan Wirth, for an undisclosed nine-figure price.

Art Baby, Contemporary Bathwater

There’s a lot going on in the July/August issue of The Brooklyn Rail. A bunch of people respond to Bob Nickas’ obituary/autopsy of the contemporary, which has apparently been dead art walking lo, these 25 years.

I think Rhea Anastas’ argument is useful, that the frame of the contemporary, and the art industry and auction and product trends associated with it have obscured the view of the art in our midst.

Barry X Ball is not the only one looking to the past. In arguing against a myth of progress and nowness, Jason Saager puts it simply: “the way forward is going further backwards.” Which, sure, I, too, loved the Siena show. [AND Caravaggio, though I have not seen this show]

a side by side comparison of two photos of a 14th century painting of the virgin mary by daddi; the black and white image on the left is earlier, when the virgin reaches down, across a railing, to a large decidedly not divine baby painted at the bottom foreground of the composition by someone else, probably 100-150 years later. the color photo on the right is the same painting, minus the baby, in color, so it is dominated by the gold background. the getty museum via the brooklyn rail
Bernardo Daddi, The Virgin Mary with Saints Thomas Aquinas and Paul (det.), ca. 1335, Getty Museum. [L] prior to the Getty’s acquisition; [R] after the Getty’s removal of the baby, via The Brooklyn Rail

In her fascinating and sobering Irving Sandler Essay, conservator Annika Svendsen Finne looks at a controversial 1993 acquisition by the Getty of a 14th century gold ground painting of the Madonna by Bernardo Daddi, “contingent upon the removal of a large painted baby from the work’s surface, which had been added by a later artist.”

Svendsen Finne looks back across the mere decades since the baby’s erasure; at the reflections of the conservators involved; at other contemporary examples of the genre; and the interpretive advances of art historians since, and wonders if maybe the Getty should have slowed their roll, and recognized the constraints of context of their own decisions.

Look, the 21st century’s been rough on everyone, including art. It does sound like it’d be better, though, if we just step back for a minute before throwing it all out. A minute, or a generation, whichever.