Kaelen wilson-goldie biography of albert

Waldemar Cordeiro, Untitled, 1963, displayed on Lina Bo Bardi, Cavaletes de vidro, 1968/2024

The sixtieth edition of the Venice Biennale closes next week.

At this point, more than six months after it opened, much critical attention has been given to the biennale’s central exhibition, Foreigners Everywhere, curated by Adriano Pedrosa. What more is there to say that hasn’t already been said?

And how can a publication dedicated to art’s publicness address the various, often-contradictory agendas that structure biennials, where curatorial, economic, and diplomatic interests converge? As critic and art historian Kaelen Wilson-Goldie shows here in her rigorously art historical review, however, there is something public about Venice’s biannual convening and particularly about Foreigners Everywhere that the exhibition’s critics fail to consider.

Looking closely