Theater of War Propaganda, contemporary art, and our reality show President

By Baynard Woods

Not far from the White House, at the Hirshhorn Museum and Sculpture Garden in D.C., Yayoi Kusama’s blockbuster retrospective show “Infinity Mirrors” has been attracting insane crowds that stand in line, eager for the 20-second stretches of disorientation inside Kusama’s infinity rooms.

The rooms use facing mirrors, hanging lights, and polka dots to create vistas of infinite regress. As art, it is perhaps underwhelming—an empty spectacle with no real depth, offering upon long inspection nothing unseen in a glance.

But as I stood in “The Souls of Millions of Light Years Away,” I snapped a picture and realized it was far more compelling on my screen than in life, the perfect art for the age of the selfie.

Read the column in Baltimore City Paper, DC City Paper, Orlando Weekly, Isthmus, Coachella Valley Independent, and more

By | 2017-07-12T16:22:55+00:00 April 7th, 2017|

About the Author:

Baynard Woods

Baynard Woods founded Democracy in Crisis. He is editor at large at the Baltimore City Paper. His work has also appeared in the Guardian, the New York Times, the Washington Post, Vox, Salon, McSweeney’s, Virginia Quarterly Review, and many others. He is the author of the book “Coffin Point: The Strange Cases of Ed McTeer, Witchdoctor Sheriff,” about a white sheriff who used hoodoo to govern a largely black county for 37 years. He earned a Ph.D. in philosophy, focusing on ethics and tyranny and became a reporter in an attempt to live like Socrates. He wrote the libretto for Rhymes with Opera’s climate-change opera film “Adam’s Run.”