Christopher’s work sits in the compelling space between art, and what is indistinguishable from it, which is what allows him to ponder the murky world between our lived experience and the world around us. He shows how the relationships we cultivate online—even if they are (sometimes) nonreciprocal—equally inform upon our personal experience (and vice versa) as we dwell in the world (wide web). Kailum Graves, The Goodwink Conspirary. 

Clary reminds us that history, like memory, is not static. It is closer to a fire alarm (cribbing from Michael Löwy on Walter Benjamin), with a sense that “not even the dead will be safe from the enemy, if he is victorious. And this enemy has not ceased to be victorious.” Bernard Yenelouis, ICP Library Blog. Read review

Often the photographic image becomes the stopping point and museums of photography are somehow a parade of perfect indissoluble moments that then never go on from that reality. Seeing you flow into and out of that is radical. Nayland Blake, ICP Museum. Watch panel

These stories are an offering of sorts: characters once loved, now staged as daddies and bears, cigars and cocks. The object-files of Sorry to dump on you like travel through networked relations, but settle into hard drives like angry ghosts. Paul Soulellis, Rhizome. Read exhibition text

Soulellis explains in his introduction: “Downloading can transform a public post into private property; to download may be political.” Here the act is political, social, sexual, and a lot of other things. There’s also something uninteresting about someone else’s stash of porn, it’s perverse and dull at the same time and there’s so much to unpack. Hrag Vartanian, Hyperallergic. Read review