When creators specifically challenge that systemic dominance in art, it gets labeled as political. What they really mean is “art used to make me feel good, now it challenges me.” Dada certainly challenged the art scene in its own distinctive way, but the question of what Dada truly accomplished still remains.

Geese is postmodern rock for the generation of nihilism and old people not getting it is exactly why Geese, and the world they live in, exist.

When art is only acceptable if it offends no one, challenges nothing, and resolves itself immediately, it stops doing its job. It no longer opens space for reflection or connection. It becomes content — flattened, risk-averse, and disposable.

And in that shift, we lose one of the few shared languages we have left.

The first display of Elda Cerrato’s work in the United States at Gallerie Leong in Chelsea comes at an incredibly compelling time in Latin American politics but not a unique one.

Where do we even begin? Artists and conductors on the Epstein list, Met Opera is in complete financial disarray (honestly, god, what else is new), The Kennedy Center– much to discuss!

It is freeing really to not be an active singer in the industry any longer. I’ve been the young artist keeping myself as a closeted lesbian deeply deeply buried inside of me and “progressive” (lol I just want everyone to have homes and rights) opinions to not “shake the boat” or push away needed donor contributions to support an art form I know needs the money.