The Crisis of the Museum Is the Crisis of the White Cube

Guernica’s misread mystery: as an “anti-painting,” its narrative unfolds from right to left—beginning with the bombing and ending with the static bull.

An installation view shows a crowded museum gallery with Picasso’s large black-and-white Guernica displayed on the left wall.

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?

The Crisis of the Museum Is the Crisis of the White Cube
Filed Under: