Arthur Jafa, APEX_TNEG, at The MIT Program in Art, Culture and Technology (ACT), on February 25, 2013 https://www.youtube.com/watch?v=TUBm2_v5RUw

There are very recent instances where, under the law, the wearing of natural hairstyles is not protected from discrimination. (…) In any case, these gestures of using the du-rag in my practice became an entry point for me and hopefully others to better understand the implications of the multiple behaviors, attitudes, reactions, and declarations surrounding a black aesthetic. The du-rag was banned by the National Football League and National Basketball Association in America in the late 1990s / early 2000s, and I am asking why. Because when you ask everyone why, there are a million different answers that either address respectability politics or refer to its relationship to criminality. As if the du-rag was a cause and perpetuator of violence. In the end, it’s worn to protect the hair and condition its texture. It’s similar to hair rollers, which are rarely worn outside, but black folks are creative like that and asked, why not? It became subversive, and the powers that be have been trying to shut it down ever since. – Kevin Beasley, Silence is not neutral, Mousse Magazine, June 2017

Set an egg timer. Do nothing at all. Leave the timer in someone’s mailbox. Make a mental list of unusual colors to wear more often. Send it to your mother. – Yoko Ono, Self-Care Tips, The New Yorker, May 21, 2017

It is not impossible, it is even probable that I shall be able to summarize all the projects I shall ever carry out in my life under one title, which would be: “We Walk On The Planet Earth”.- stanley brouwn, A Step (1970) http://plaza.ufl.edu/kgladdys/ART6933/articles/brown1.pdf

David Claerbout in conversation with Chus Martínez at Schaulager, Basel, December 2015 – https://www.schaulager.org/de/schaulager/videoarchiv/video/7

I saw him in belt and braces. He grabbed a woman by the throat. No that was a sculpture. The sculpture had a throat. And faces broken open. That was art. Where? At Leo’s. Leo who? Leo two. Or Three. – rumors and echos about Manicomio ! (2017) by Dora Budor

Bubble Paintings, Jeff Geys at Essex Street New York, 9 April – 21 May 2017 (Contemporary Art Daily)

One form of resistance is to go dark, to stop making artwork that can in any way be represented on the platforms that facilitate these forms of recuperation. But even if you as an artist don’t post images of your work on social media, other people might. You could institute a Berghain rule and administer stickers over phone’s camera lenses upon entering an exhibition, but then, hashtags are indexable forms of language that don’t require images and are still a useful metric for brands. You could literally never show your work to anyone. You could embrace chaos and illegibility, creating visual or written work that is non-instrumentalizable, but legible across many parts over a longer period of time. This might mean making work that operates at a different tempo than that of branding and social media, work that occupies multiple sites and forms, work that fights for the complexity of identity (as artist or otherwise) and form, and believes in a creaturely capacity for patience with a maximum dedication to understanding. – Dena Yago, on Ketamine and Added Value, e-flux, May 2017

Christopher Williams on Post Studio and Michael Asher for ‘The Experimental Impulse’, September 28, 2011

“John Baldessari: Paintings 1966–68” is on view at Craig F. Starr Gallery in New York through Saturday, May 20, 2017. The solo exhibition brings together many of the artist’s earliest text and photo-text paintings for the first time since they were first shown at Molly Barnes Gallery in 1968.

Seth Price. 8-4 9-5 10-6 11-7

The history of the joke and the tradition of jokes have always been wrapped up with questions of power. But at this moment when people — especially on the left, which includes many people in arts communities — are feeling embattled and less powerful, or with less hope, let’s say, which is another form of power in a sense, the idea of the joke becomes more useful. – VANESSA PLACE, excerpt from 500 words, Artforum, April 2017

JUDITH HOPF, Up ! (2016) 1 min 58 sec http://www.contemporaryartdaily.com/2017/04/judith-hopf-at-deborah-schamoni-2/ (wrongly defined as More (2015))

I find it interesting, how that works. How the original and the copy, the hierarchies, and the authorities who are meant to deliver “the originals” are dependent upon the people they aim to exclude. And maybe that process has been sped up through social media and these feedback loops of exclusivity. Those feedback loops are as valid as the “real deal.” It’s also the real deal. If it exists on its own it’s no longer a copy. – ANNA UDDENBERG, Cura Magazine #24, April 2017

The Edmund Felson Gallery can be found in Berlin on Auguststr. 19/67 from March 1st – June 31st Opening hours Thursday 5 – 7pm, Saturday 3 – 5 pm