. . . He was the victim of an accidental discharge, uncontrolled carelessness with unconscionable consequences . . .
". . . Nafisi went on to speak for more than an hour, apologizing over and over again for her digressions and off-topic assays that were very clearly borne of a tremendous passion."
In her essay “Sculpture in the Expanded Field,” Rosalind Krauss argues that postwar American sculpture (and painting) has been “kneaded and stretched” until it became “infinitely malleable.”[i] Something similar takes place in the writing of the expanded fielder.
I cannot power through this book, like so many others before, for one simple reason: it powers through me.
Quizás is born out of the combination of the Latin phrase "qui sapt," or "who knows . . ."