Akimbo, “Cripsters” July 2019
As a curator, I’m interested in the representation of disability within art history and its various systems and structures. As part of my work, I have employed a theoretical methodology whereby I forge allegiances between minority and mainstream categories in art history to demonstrate that work by disabled artists can be contextualized within established art genres as a means for placing greater transformational value on their work. But I question if this is merely serving to reinforce the normalization of these pre-existing canonical categories. What is at stake in employing this comparative procedure? What is gained or lost when I build my critical enterprise on this approach?