Last summer, Documenta 15 (the latest installment of the quintennial exhibition of contemporary art in Kassel, Germany) was roiled by a particularly vehement reception in the German press, with various accusations of antisemitism being fielded against participants in the exhibition. What happened was more than a local art-world skirmish: it was symptomatic of persistent and unresolved tensions within the German public media sphere, as well as indicative of certain antinomies underlying a globalized system of art production and dissemination. The purpose of this dossier is not to rehearse the details of the controversy in the German press but to address the broader failure—with some notable exceptions—to conduct an actual analysis of the propositions forwarded by Documenta 15, which for the first time was curated by an artist collective of the Global South.

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