There are a couple of things that I do as a practicing artist: I am systematically critical of my own perspective, my goals, and how what I make will ‘be’ in the world; I am leery to the point of skittishness about what ‘art’ means in Western culture and its colonies. My self-monitoring makes me keen to know how others who share my interests – in any field – manifest their perspectives and to what ends. My apprehensions around taste and access and power mean that it is near to impossible for me to have a transcendent moment in any ‘art world’ space, and frankly, I wouldn’t want to as that would mean I’d lost my bearings. And so, every opportunity I get to be with art, I take, even when it’s in a space I absolutely do not trust. Of course, my annual visit to Miami Art Week facilitates the one in the other.
In the past, I’ve tried to see beyond the structures around Miami Art Week and simply enjoy the convenient plethora of work. And yet, at the height of the financial crisis, it was hard to ignore Art Basel Miami Beach‘s partner UBS . Last year, I was irked by the line that fast tracked a select few at the general opening of that fair.
Once more on the eve of it all – after the Senate tax vote and the continued neglect of Puerto Rico and the US Virgin Islands and the Supreme Court Ruling allowing the travel ban and the end of protected status for Haitian refugees and the uncertainty of DACA the plans to privatize government services and the coming FCC anti-net neutrality vote -, my thoughts are strictly focused on power, pillaging, exploitation, and oppression. I have no idea what that will mean for how I’ll see the art I’ll encounter, but I do know that, at this moment, to ignore the impact of the relentless financial imperatives of the few on the lives of the many will mean continued global disaster.