Ngana

Kim Gordon’s rock-star body is an object of projection—vacuuming, sleeping, wielding a Jazzmaster in Airbnb limbo. From Sonic Youth to No Home Record, she performs middle-class blankness, but what’s staged, what’s real, and who’s the audience for her disembodied domestic rebellion?

Emily Kam Kngwarray’s art has been claimed, framed, and re-framed—by critics, curators, and institutions alike. But what remains of the singular, personal encounter with her work?

At a time when all these elements are easily replicated by AI and memed on social media, what is often called Anderson’s “twee” aesthetic continues to be derided as all style and no substance.