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How do you effectively judge or comment upon a post-colonial biennial? At most you can stand back as a flat-footed spectator, nod, and engage the sprawling vision with an antiseptic relationship to its "organizational strategies." Is the international hyper-curator engaged in a zero sum game with the waning role of the critic? This is, mind you, the critic-as-critic, or critic/critic/critic; a peculiar species of high modernism. Before they were forced to react to the God head wisdom of the celebrity curator, who probably also started out as a theorist-critic, but succumbed to the careerist pressure to "do", be pro-active, not just "write", which is most often forced into a reactive relationship to the "curated" work.  This occurs even though the critic and the curator are in theory (but not in practice) doing the same work -- arranging, selecting, contextualizing, and presenting works of art and artists. We should decide what we lost when we entered the age of the "slash." Did we insulate curatorial practice by weakening one of the "estates" in the production and reception of art by forcing it to merge with the active role of the curator? Is it conservative to pine for the "pure", singular voice of the critic who merely reacts, write, and accompanies artistic production with purposive text? 

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AuthorMike Pepi