Mark Rothko, Untitled, 1958

Oil on paper mounted on Hardboard

23 13/16 x 18 13/16 in. (60.5 x 47.8 cm)

inscribed verso  MARK ROTHKO 1958

Estate/Inventory Number1953 MAR

Collection of Christopher Rothko.

It’s completely recursive. But critique can be productive when you disengage from the paranoia factory of social media. You gather the information and then you step out. When you stay inside that critique-based world, all you're doing is producing more revelations that promise to undo something, but never do undo it. And then it just moves to the next set of revelations that promise to undo, but also never do undo. So it's finding what comes next. I think we probably know enough about what's bad in the world at this point without any more added information, but we have very little information and very little sense of what it is we want to move towards. That was the strange gap that I identified, or became aware of, and started becoming fascinated by. We produce all of these dystopias, we produce all of these fantasies about how things could be worse, but we really don't spend very much time asking, what actual world do we want to inhabit? What kind of political systems, what kind of care networks, what kind of financial structures? This has become much more interesting to me—that is, broadly speaking, reparative work. Political as well as artistic.