"In our rush to find new “political art” for these times, why don’t we also look to those who have been resisting this whole time? My desire in the classroom is not to say that women, people of color, or queer people have been ignored in the art world or in genealogies of politics or art; I am not interested in only narrating us as damaged, as invisible or as lacking. My desire, instead, is to elevate and make central the communities and the artists who have already been doing the work."
"In San Francisco, artists in residence at the city dump are valorized for their work. In West Oakland, homeless people who rely on independent recycling centers are criminalized... This isn’t just a story about the Bay Area’s recycling and waste stream, but about who the region values as workers and who is left out with the trash."
"Something akin to cognitive dissonance flashed through me as I sat on a speeding bus across the Golden Gate Bridge on the 15th anniversary of 9/11. I thought, as we blew past our designated stops at the Golden Gate tourist center on the San Francisco side, and the multiple stops in Marin, how very strange that I am the only one totally freaking out about this aberration."
"At the Venice Biennale, the Philippine Pavilion Favors Beauty Over Ugly Truths," Hyperallergic, Nov. 13, 2015
"Fifty-one years after its first (and last) appearance and almost 30 years since the end of Martial Law, however, the Philippine Pavilion is back in Venice with curator Patrick Flores’s Tie A String Around The World — a group show that seems to have taken Marcos’s preference for extravagant beauty to heart."
"To be bound, inextricably, to another person throughout time. Such is the stuff of literature, myth, and even endurance performance — Romeo and Juliet, Orpheus and Eurydice, Marina and Ulay. None of these stories has a happy ending but I cannot help but think of these when I see the work of Ingrid Rojas Contreras and Jeremiah Barber, a young couple who has lived and worked out of San Francisco since Barber was an MFA student at Stanford."
"How can one be an ethical witness to a pandemic? Or, to borrow from Douglas Crimp’s essential 1989 essay 'Mourning and Militancy,' what is the appropriate way to mourn and recognize one’s 'terror, rage, guilt, and sadness' about the scourge of HIV/AIDS? ... In my classes on art and the AIDS crisis, one artist has rarely (if ever) been featured: Keith Haring. After visiting Keith Haring: The Political Line, now in its final week at San Francisco’s de Young Museum, I realize just how wrong I have been about Haring all of these years."
"As the 'first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today,' Alien She attempts the difficult task of memorializing a movement while also making a case for its continued relevance to women and the arts. Although visually enticing, the show dilutes the political potency of and contradictions within Riot Grrrl — perhaps inevitable once a movement has been divorced from its living, breathing, countercultural context and is mounted on gallery walls."
"'To Organize the World, To Make it Universally Accessible and Useful': Silicon Valley Monsters in M.O.B.'s Manananggoogle Project," Center for Art + Thought, 2014
"Manananggoogle Inc., and the globalized industries it is based on, thus simply works–both literally and metaphorically—by collapsing the geographic distance between the Philippines and the US and compressing the elapsed time between the pre-modern world of aswangs and the hyperreal future of high technology. That these industries predispose so many to premature death is the true terror that the Mail Order Brides personify as the executives of Manananggoogle, Inc.; their callousness and embrace of death for their pleasure makes them not bygone creatures of the past but the perfect symbols of the modern world."