1.
La pieza «Solitaire», de Catherine Biocca.
2.
La conferencia performativa «Chiara Fumai reads Valeria Solanas», de Chiara Fumai, que tuvo lugar el 19 de octubre de 2013 en MUSAC, Museo de Arte Contemporáneo de Castilla y León.
3.
El tema «Attracting Flies», de J. S. & The Lockerbillies.
4.
El poema»Triángulo armónico», de Vicente Huidobro.
5.
El artículo de Seph Rodney «Art criticism as a way to live», publicado en Hyperallergic.
Un extracto:
«I’ve found that silence is one of the key ways that the art scene operates. It makes certain conversations private when it would better serve us to have them be public. I’m not only thinking of the sexual harassment or abuse of employees. There are more subtle ways that silence is wielded.
In September 2020, I had posted a story on Facebook that referred to a conversation I had had with the artist Nina Katchadourian. This discussion had to do with me coming into an understanding of how crucial public criticism is and I provided a link to the piece where I more fully discuss my interaction with Katchadourian. One respondent told me that she thought I was acting out of bounds because I sought to interfere with the relationship of the artist to her gallery. According to her, as a journalist I wasn’t supposed to do that. I responded to this person that it sounded to me like they had lost the plot and just didn’t understand what criticism is. I’ve had to say this several times in the past few years. There doesn’t seem to be a widespread, clear understanding of the distinction between journalism and criticism in the New York art scene.»
