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© 2023 Grey Room, Inc. and the Massachusetts Institute of Technology.
2023
Grey Room, Inc. and the Massachusetts Institute of Technology.
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Marina Vishmidt is a writer and editor. She teaches at Goldsmiths, University of London and will take up a professorship in art theory at the University of Applied Arts Vienna in autumn 2023. She is the editor of Speculation in the series Documents of Contemporary Art (Whitechapel/MIT Press, 2023); author of Speculation as a Mode of Production: Forms of Value Subjectivity in Art and Capital (Brill, 2018); and coauthor, with Kerstin Stakemeier, of Reproducing Autonomy (Mute, 2016).
Marina Vishmidt is a writer and editor. She teaches at Goldsmiths, University of London and will take up a professorship in art theory at the University of Applied Arts Vienna in autumn 2023. She is the editor of Speculation in the series Documents of Contemporary Art (Whitechapel/MIT Press, 2023); author of Speculation as a Mode of Production: Forms of Value Subjectivity in Art and Capital (Brill, 2018); and coauthor, with Kerstin Stakemeier, of Reproducing Autonomy (Mute, 2016).
Marina Vishmidt; Nothing to See Here: On the Bracketing of the Spectator in a Hyperrelational Exhibition. Grey Room 2023; (92): 117–123. doi: https://doi.org/10.1162/grey_a_00377
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