An Ever Wider Range of Diverse Topics

Reeve’s editorship branched out in numerous directions in 2003, combining, for example, an interview with Fred Wilson, Gary Younge’s essay on the fourth plinth in Trafalgar Square, and an examination of Leslie Dill’s visionary poetics, or, in the succeeding issue, sustainable design, the problems of starchitect-designed museums, and grassroots environments by a new type of outsider artist. Essays in succeeding issues on the hybrid vigor of graffiti, an exposé of whiteness, and public art at Burning Man, and a defense of performance art by Guillermo Gómez-Peña revealed an ongoing interest in the complexities of margins, centers, and ethnic identities. A survey of Ruth Dusseault’s socially informed interest in and documentation of “the in-between zones of urban environments” and a feature story on the social activism of Alabama’s Rural Studio added architecture to the mix alongside essays on Fischerspooner as performance pop, abstract expressionist Manny Farber, Ingrid Calamé’s abstract paintings of floor stains in the centers of power, birth trauma for child and mother in the art of Matthew Barney and Mary Kelly respectively, and “Nude Orleans: From Bellocq to Bourbon Street” engaged an extraordinary range of issues. The photographs of Gregory Crewdson made a return engagement, this time in an essay pairing him with Raymond Pettibon, rather than the apocalyptic paranormality of Gean Moreno’s “The End of the Future” in 2002.