Audre Lorde’s notion that one cannot dismantle the master’s house using the master’s tools resonates deeply with Ed Woodham, the founder of Art in Odd Places. Throughout his career, Woodham has embraced performance art, public art, and social practice to engage communities beyond traditional gallery spaces. However, the challenge arises when the very systems that socially engaged art aims to critique begin to appropriate its methods. In response, Woodham introduces Social Malpractice—a multifaceted initiative combining workshops, a ‘warning system,’ and a ‘speculative think tank.’ Learn more about his visionary work in his opinion piece.
This edition also features Olivia McEwan’s analysis of Tracey Emin’s magnetic persona through her retrospective at Tate Modern. Nathan Gelgud contributes a charming comic capturing Frank O’Hara’s often-overlooked curatorial endeavors. Additionally, John Yau delves into Anki King’s evocative portraits of solitude, among other highlights.
—Lisa Yin Zhang, associate editor
