Critique is produced through constituencies that are engaged in struggle.

Interviewee: Grant Kester

There has to be a moment of oppositionality or resistance in the practice. That’s how critique is often produced, through communities and constituencies that are engaged in specific, concrete, struggles. That activist component is central to so much of this work. And, as I said, it’s not surprising that we would find artists engaged in this work getting caught up in a kind of situational rhetorical politics, which has to do with trying to differentiate what they are doing from what are seen as the compromised operations of the state. Of course you have to remain critical of those mechanisms.