Editor's Message
Learning from New Orleans
Some may consider New Orleans after Katrina to be a tragedy—full of sorrow, fatally flawed by its geography, and now lacking any good options in terms of what to do next. However, after going there this past month, I would simply call it a national disgrace. The present plight of New Orleans results much less from the city’s own historic problems than from the politics of inequality shaping 21st-century American life. And only a fool would say that some variation of Katrina can’t happen here in New York City.
New Orleans yields endless contrasts: enduring beauty, as seen in the buildings, not just in the French Quarter but also in the old warehouses and markets; utter neglect, as found in the abandoned Lower Ninth Ward and beyond; and post-apocalyptic horror, which for me was most eerily symbolized by the shuddered Six Flags amusement park in New Orleans East, its sign still reading “closed for storm.” That Louis Armstrong Park, home to legendary Congo Square, was closed on a holiday weekend in early October is a telltale sign of how little is being done to rebuild New Orleans right now. These, of course, are merely a few observations of a weekend visitor; for a far more authoritative discussion of what the city offers, see Billy Sothern’s interview with the New Orleans-based artist Willie Birch in the Express section of this issue.
The only lesson that George W. Bush apparently learned from Katrina is that crisis management is directly related to partisan politics; in explaining the much quicker help that the federal government delivered to a much richer constituency in the recent Southern California wildfires, the lame duck said, “It makes a significant difference when you have somebody in the statehouse willing to take the lead.” A pathetic excuse for inaction in New Orleans, to be sure. The Democrats, meanwhile, are offering no meaningful plan for rebuilding New Orleans. If they still were the party of FDR, the Dems would revive the W.P.A., putting carpenters and artists to work rebuilding the city. Yet sadly, today’s liberals would rather tie themselves up in intellectual knots explaining why public works projects are a thing of the past.
Flying out of New Orleans, it was easy to see from the air why many outlying areas of the city were so vulnerable to being flooded. Descending into JFK, I was struck by how similar the landscape of southern Queens and Brooklyn appeared. Experts say it’s likely that a Category 3 or above hurricane will hit New York City in coming years, while oceanographers warn of rising sea levels due to global warming. The tornado that hit Bay Ridge and Sunset Park this past summer thus may have provided a frightening harbinger of things to come. If we don’t start paying more attention to disaster prevention, as opposed to simply disaster relief, what happens to New York City will be an even bigger disgrace.
—T. Hamm
RECOMMENDED ARTICLES

Out of (This) Time — Brief Notes from “Astrodoubt and the Quarantine Chronicles”
By Luca BuvoliSEPT 2021 | Critics Page
I had just returned to New York from a month traveling in India, where I had enjoyed rediscovering, among other things, the power of narration in visual arts (in the carvings in Hindu temples, in miniature paintings, etc.) and of a mythology and conception of time outside the Newtonian one. This was a couple of weeks before Covid-19 arrived in the US and I was working on one of the 180 ideas/projects that comprise Space Doubt, a work conceived as a ten-year expedition started thanks to a collaboration that I developed with NASA scientists and the Smithsonian National Air and Space Museum, Washington, D.C., exploring an idea enabling me to find the courage to use some dark humor about my aggressive and advanced cancer of a few years agoluckily and hopefully curedand cancer in general.

Isaac Julien: Lina Bo Bardi — Marvellous Entanglement
By Osman Can YerebakanDEC 21-JAN 22 | ArtSeen
Juliens love song to the Brazilian architects life and philosophy is his most recent film installation, Lina Bo Bardi Marvellous Entanglement (2019), which is currently on view at the Bechtler Museum of Modern Art in Charlotte, North Carolina.

Hong Kong’s Contemporary Cultural Scene—public protests and beyond
By Paul GladstonMARCH 2022 | Editor's Message
For the best part of the last decade, Hong Kong has been a major focus for the international news media because of continuing public protests there against the authority of Hong Kongs Beijing-backed legislature and, more recently, the imposition by Chinas central government of the so-called National Security Law (NSL) aimed at suppressing political dissent in the region.