The final episode of season 9 features a live recording from Momus’s To Build and Sustain Publishing Roundtable, held at PHI ...

From June 1942 until its dissolution in 1945, the Office of War Information (OWI) generated public support for World War II, ...

When I work, I accumulate a great deal of material,” artist Mary Ellen Carroll once remarked, “and I need some way of ...

I got lost several times on my way to Casa Susanna, the exhibition I had set out to write about. It was a sticky Friday night in July—“date night” at the Metropolitan Museum of Art, as the Met ...

Ursula Biemann has been challenging, and excavating, how knowledge is produced for thirty years now, but in the past decade she has turned her attention to the environment. Her fieldwork has ...

So many books have been written on the art and music of New York City in the late 1970s and early 1980s that one imagines the texts on the much-romanticized period, stacked end to end, could reach the ...

1. Writing is a way of loving. To love is to give life, continuity. This is a story about lives that were not meant to go on. But they did go on. Soon after artist Gabrielle Goliath was informed that ...

Last November I spotted an unusually mundane poster at Printed Matter, the nonprofit bookseller that once served as the distribution arm of New York’s Conceptual art scene. The print, designed by ...

The best way to fuck something up is to give it a body. A voice is killed when it is given a body. Whenever there’s a body around you see its faults. Theory proves that. —Mike Kelley, Dialogue #1 (An ...

“I don’t ever want to live in one place again,” Paul Thek declares in a letter to Peter Hujar in 1968, “too many pretty places in the world.” Both Paul and Peter are deeply New York artists; that’s ...

This is the first of two reflections Momus published on the occasion of Tehching Hsieh: Lifeworks 1978–1999, on view at Dia Beacon through 2027. Find the second, by Lisa Hsiao Chen, here. “I wanted to ...

Staging a major retrospective of Edmund Alleyn as a flagship summer show is a bold move on the part of the Musée d’art contemporain de Montréal. Alleyn, who was born in Quebec City in 1931, and died ...