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<b>What it means to be global--or to be local--in the context of artistic, curatorial, and theoretical knowledge and practice.</b><p>In this volume, an international, interdisciplinary group of writers discuss what it means to be global--or to be local--in the context of artistic, curatorial and theoretical knowledge and practice. Continuing the discussion begun in <i>The Curatorial Conundrum</i> (2016) and <i>How Institutions Think</i> (2017), <i>Curating After the Global</i> considers curating and questions of locality, geopolitical change, the reassertion of nation-states, and the violent diminishing of citizen and denizen rights across the globe.</p><p>It has become commonplace to talk of a globalized art world and even to speak of contemporary art as a driver of globalization. This universalization of what art is or can be is often presumed to be at the cost of local traditions and any sense of locality and embeddedness. But need this be the case? The contributors to <i>Curating After the Global</i> explore, among other things, specific curatorial projects that may offer roadmaps for the globalized present; new institutional approaches; and ways of thinking, vocabularies, and strategies for moving forward.</p><p><b>Contributors include <br></b>Lotte Arndt, Marwa Arsanios, Athena Athanasiou and Simon Sheikh, María Berríos and Jakob Jakobsen, Qalandar Bux Memon, Ntone Edjabe and David Morris, Liam Gillick, Alison Greene, Yaiza María Hernández Velázquez, Prem Krishnamurthy and Emily Smith, Nkule Mabaso, Morad Montazami, Paul-Emmanuel Odin, Vijay Prashad, Kristin Ross, Grace Samboh, Sumesh Sharma, Joshua Simon, Hajnalka Somogyi, Lucy Steeds, Françoise Vergès</p><p>Copublished with the Center for Curatorial Studies Bard College/Luma Foundation<br></p>

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