And so Quarterly has finally come to pass.

As the water tinges red, accumulating imitators who with ease replicate its system, seeking a piece of its pie, provide competition threatening CAD's monopoly of art world visibility, it evolves new systems, a new hustle to keep it at the forefront of this fragile new visibility-ecosystem of attention.

And so what form does the new extension take but an anabolic enhanced CV, the literalization of artist pedigree. CAD's system still clinging to the mass feed, a linear flow of artist accumulative practice, ignoring the "web" for a singular fount, flow, mainlining the image. CAD has professed disinterest in criticism as part of its institution, and the hegemonic power of the visible remains its brilliant main structure. An accumulative method which monopolizes the territory art stands on: documentation. Control the field of making visible. The only way to beat CAD now is to be faster than it. Other "features" promoted by competing websites has nothing on the completest vision of CAD as the arbitrator of the artworld's visibility.

Perusing the first of the 3, the speed of finding patterns in an artist practice becomes infinitely faster, and here we see the importance of Arakawa's body doing something, anything, an action to conjure the documentation.


See too: "The Sea" at Mu.Zee, Gina Folly and Mandla Reuter at SALTS,  “Dai Hanzhi: 5000 Artists” at Witte de With