“Cripping Cyberspace: A Contemporary Virtual Art Exhibition,” hosted by the Canadian Journal of Disability Studies and Common Pulse Intersecting Abilities Art Festival
In her book What Makes a Great Exhibition? (2006), art historian, curator and critic, Paula Marincola posed the question: “Can we ever get beyond the essential conversation of displaying works of art in conventional, dedicated spaces?”1 As a curator focused on situating representations of disability and creative conceptions of access as a critical component of art history, contemporary art practice and museum displays within alternative platforms, Marincola’s question struck me as exciting, and full of potential. If curating an exhibition of disability-related content within a conventional exhibition complex has been historically absent, for the most part, what other kinds of spaces and places might offer more opportunities and an expanded definition of ‘disability’ and ‘access’ for the essential display of disability art? Most critically, is there room for a revision of art history and entirely new representations and art experiences through the funnel of the still-ghettoizing disability label within such alternative spaces?