these were open conversations that avoided complete condemnation of “professionalization”
Larissa Harris is a curator at the Queens Museum. Exhibitions at QMA include Red Lines Housing Crisis Learning Center, a project on home finance by artist and urban designer Damon Rich; the first U.S. solo presentation of Korean video and performance artist Sung Hwan Kim; People’s United Nations (pUN) by Pedro Reyes; 13 Most Wanted Men: Andy Warhol at the 1964 World’s Fair; and, with Patti Phillips, Mierle Laderman Ukeles: Maintenance Art.
Caroline extrapolates questions from her own life situations about the structure of society under capitalism, makes and catalyzes tools and communities to address these structures then ploughs back what she learns into her own life and her commitment to making the process of social change a democratic and inclusive one.
— Larissa Harris
Art holds the fantasy and the contradiction of mobility, of individuality, and of the desire to resist that, to imagine cooperative ways of being. These houses on wheels at the MacDowell Colony and at the Queens Museum do that, too. They might want to move, but you can't get very far with those little wheels! These structures are symbols, metonyms, for bodies — architecture as an extension of the body, as supportive spaces for dreaming, thinking, and making. They are sculptures that are functional, that are places where conversation, hanging out, and making art happen. They might imagine mobility, but in reality, they are quite fixed.
—Caroline Woolard, interview with Larissa Harris