The current ecological crisis brings about a new relational landscape: an unprecedented collapse of distances creates interspecies promiscuities and a crisis of the human scale. In his latest book, Inclusions, Nicolas Bourriaud proposes that artists are the anthropologists of this new era.

If modernism was a return to the origin of art or of society, to their purification with the aim of rediscovering their essence, then our own century’s modernity will be invented, precisely, in opposition to all radicalism, dismissing both the bad solution of re-enrooting in identities as well as the standardization of imaginations decreed by economic globalization.

In the essay Postproduction. Culture as Screenplay: How Art Reprograms the World, French writer and curator Nicolas Bourriaud discusses how, since the early nineties, an ever increasing number of artworks have been created on the basis of preexisting works; more and more artists interpret, reproduce, re-exhibit, or use works made by others or available cultural products.

With the global rise of a politics of shock driven by authoritarian regimes that subvert the rule of law and civil liberties, what paths to resistance, sanctuary, and change can cultural institutions offer? In this book, more than twenty leading curators and thinkers about contemporary art present powerful case studies, historical analyses, and theoretical perspectives that address the dynamics of activism, protest, and advocacy.

Composed of official committee members and illicit “agents,” the INS harks back to early twentieth-century avant-gardes, producing declarations, reports, public hearings, broadcasts, and research documents, as well as orchestrating more covert media infiltrations, all governed by the objective, set out in the “Founding Manifesto,” of mapping, entering, and occupying the space of death through literature, philosophy, culture, and technology.

Terminal 5 was a group show curated by Rachel K. Ward at Eero Saarinen’s landmark 1962 TWA Terminal at JFK Airport. Originally scheduled to open September 2004, the Port Authority closed the exhibition after the “controversial” opening night party. Initiated as a form of “dedication to the building” the exhibition explored themes drawn from the history and nature of travel, and responded to the significance of the architecture itself.