What’s the use of decolonizing the canon, decolonizing the collection and decolonizing the program if we don’t decolonize the white cube itself—the container that still structures how art is seen, experienced, classified and legitimized?
What’s the use of decolonizing the canon, decolonizing the collection and decolonizing the program if we don’t decolonize the white cube itself—the container that still structures how art is seen, experienced, classified and legitimized?
