Exhibition view: 2018 Triennial: Songs for Sabotage, New Museum, New York (13 February-27 May 2018). Courtesy New Museum. Photo: Maris Hutchinson / EPW Studio.
Songs for Sabotage, the fourth New Museum Triennial, is suavely branded as a survey of 26 subversive practices from around the world. The curators, Gary Carrion-Murayari and Alex Gartenfeld, frame the exhibition with an astute awareness of the challenges it faces as an institution that would seem to reify the repressive ideologies it purports to dismantle. In his catalog text, Gartenfeld—who might be considered the most precocious institutional mind of the generation still younger than Jesus, and thus keenly attuned to the trappings of dwelling on age—addresses the wise move to excise the word 'generational' from the show's identity (though it remains a round-up of artists under 35), writing, as a kind of disclaimer: 'Previously described as a 'generational' survey, the Triennial implicitly and explicitly weds the notion of youth to international movements in order to link artistic potential (both criticality and marketability) to demographics.'