Public screening of the 2 Lizards series by Meriem Bennani and Orian Barki, for "Teleport" in Baltimore, featured on the new Teleport website. Facilitator and co-presenter of Piotr Szyhalski's COVID-19: LaborCamp Report at The Corner, in Washington DC. Author of the text "Encounters" for the COVID-19: LaborCamp Report book. Production management and editorial support for Shaper of God, by American Artist. An unusual interview with Curran Hatleberg, for White Fungus, Taiwan. With Emilie Villez, seeded the idea for a french translation of artist Dread Scott's text "America God Damn", now in the Spring 2021 issue of 02 in Paris

Last year or two

An Op-Ed on ArtNet News, about a new artist contract in collaboration with Laurence Eisenstein and Lauren van Haaften-Schick. Curators from around the world pose question and artists answer with images, Questions & Appearances (Q&A) is an online publishing project, co-edited with Catalina Lozano. A video program Voice Over (In Three Parts), co-curated with Sohrab Kashani, and presented at Sazmanab in Tehran, and simultaneously within The Other Apartment by Jon Rubin and Kashani at the Mattress Factory in Pittsburgh, PA. The exhibition Ancient History of the Distant Future, at PAFA in Philadelphia, co-curated with Jodi Throckmorton, presenting contemporary artworks within the historical galleries of PAFA—and reviewed in the NYTimes.

A few years ago

A poster by Badlands Unlimited, installed in the Old Goucher Neighborhood of Baltimore the day of the Pride parade. A three-part storefront project Monuments, Ruins, and Forgetting, in collaboration with artist Jon Rubin for the triennial Counterpublic organized by The Luminary, St. Louis. Double Takes, co-curated with A. Will Brown, is an 11-month series at MOCA Cleveland pairing historical and contemporary video art.

The public installation of Dread Scott's A MAN WAS LYNCHED BY POLICE YESTERDAY on North Avenue, Baltimore, and an interview with the artist. Co-conceptualized an experimental program between two cities, To the east and to the west, two planets appeared on the horizon, with Signal, Malmö, Sweden. An interview with åbäke for BmoreArt, about THE WIRE, Baltimore and the art of television. The poster For Want of a Whisper, included in Belonging to a Place, at the Canadian Embassy in Washington DC. The public installation (20 foot tall) of I want a president by Zoe Leonard, on 23rd Street, Baltimore. Editor of a book surveying the text-based artwork of Anthony Discenza, A SERIES OF MINOR DEFEATS HINTING AT GREATER CRUELTIES.

A collection of short stories about imaginary museums, The Museum Took a Few Minutes To Collect Itself was published by Art Metropole (Toronto) in October, 2017. A memorial essay, for Bill Berkson and Ted Purves: An elegy for geometric relations on Open Space, the online publication of SFMOMA. In May, a month-long residency on Fogo Island. In June, a text and poster for Belonging to a Place at Scrap Metal Gallery in Toronto, organized by Fogo Island Arts. A two part text for The Last Billboard. In March 2017, an exhibition Lives Between, co-curated with Sergio Edelsztein, offers a narrative of migration, through the lives and work of artists. The short story The Museum of Smoking included in the collection She would roll petite cigarettes, petite like her, edited by Ola El Khalidi and Amanda Eicher. Michael Snow: Questions & Answers, is an interview conducted in collaboration with artist Euan MacDonald, published by KADIST and The Thing Quarterly.


In 2016 KADIST introduced 2 new Online Projects: Addendum, a collaboration with artist Steve Lambert, replaces advertising on website with visual essays by artists, and Incidents (of Travel), edited by Latitudes, explores a chartered day-long travel itinerary as a form of artistic encounter and extended conversation between curator and artist. The One Sentence Exhibition, invited curators to select or write a single sentence, making each work a link. The Reader invited artists to select an historical painting of a woman reading, and to imagine what's happening on the pages of the book, or in the mind of the women reading it. For Monument, artist Jason Fulford and writer Hernán Díaz visit Passaic, NJ to look for monuments, and find the codes of a post-industrial ruin.


In 2013, artist Anthony Discenza and I contributed a recipe for Ryan Gander's book of Artist Cocktails, now in its 3rd edition. Around the same time, I interviewed Jack Wendler, co-publisher of the famous Xerox Book (as exhibition). Curatorial residencies at ArtPort, Beta-Local, The Luminary, and SOMA. An experimental granting instittuion, A1 Travel supported a dozen SF Bay Area artists. The exhibition City of Disappearances traveled from the Wattis Institute at CCA to the Zabludowicz Collection in London. The international version of the Pickpocket Almanack at Artissima. An exhibition at Artists Space (NYC), On Being An Exhibition borrows Michael Asher's Situational Aesthetics as a point-of-departure. In Protest, organized with Constance Lewallen, invited artists to make a protest sign, distributed at the Berkeley Art Museum.

The Anecdote Archive (now discontinued) identified 'word-of-mouth' as an important means of distribution for non-object-oriented ideas in art. Back in 2008, we delivered letterpress posters to politicians; State of the Arts was produced collaboratively in think-tank discussions with artists. An exhibition traveling from Articule (Montréal) to PNCA (Portland) to the Nelson Gallery (UC Davis), Black Market Type & Print Shop surveyed lettering by contemporary artists.

At Yerba Buena Center for the Arts (San Francsico), Collective Foundation re-formats the alternative space model. In Geneva Switzerland, an exhibition of Project Placement. The YouTube Commentary Project invites artist to select and narrate existing YouTube videos. A society for the production of secrets, The Secret Society held a one-night meeting at the Berkeley Art Museum and Pacific Archive. The traveling Bitter Valise, a bar inside of a suitcase (homemade amaros) for artists who've received rejection letters.

Misc Writing Links (some are likely broken)

The first in a series of short stories about speculative museums, Janitor for the Nation was published by Art21 Magazine. A second, Saint Anthony's Fire appears in the 2016 issue of White Fungus magazine. At Sundown A New Day Begins for (the online catalog of) Impernanent Display, a project by Dana Levy. Wall, Window or Bar Sign (12 Step) for a new commission of neon signs by Mungo Thomson. A proposal for a new network game, Bringing Home America's Army was co-authored with game-designer Al McElrath for Manifesta Journal. Pigeons on the Grass Alas: Contemporary Curators Talk about the Field, published by The Pew Center for Arts & Heritage. Artist Highlight: Holly Herndon for SFAQ magazine. With Anthony Discenza, a contribution to Ryan Gander's book of Artist Cocktails.

Co-authored with Christian Nagler for Fillip Magazine, Curating in the Time of Algorithms thinks about the impact of network systems on curating. Also co-authored with Christian Nagler, the essay Bay Area Art and the (Counter) Culture of Silicon Valley appears in the exhibition catalog for Six Lines of Flight at SFMOMA. Interview with Anthony Discenza for Open Space blog. Also on Open Space, a conversation with Sean Dockray. An interview with Chris Sharp, about his space Lulu in Mexico city.

Download the Pacific Limn ebook, a project by Young Hae Chang Heavy Industries and Kadist. Specters of San Francisco Magazines was a report about the history of art related periodicals in the SF Bay Area, as a framework to talk about the present (in 2010). Kadist Art Foundation in Paper Magazine. An interview in Fillip magazine about the Collective Foundation. The Revisionists for NERO magazine, co-authored with Renny Pritikin. An essay on Technology, Globalization and the Mohawk Nation, originally in a brochure for the Yerba Buena Center for the Arts, and reprinted in Potential Estate. A review of Mark Tribe: The Liberation of Our People, Angela Davis 1969/2008 for X-Tra Magazine in Los Angeles.

Well, you made it this far, here's what my website looked like in 1999.