Golden’s stratified underworld is admittedly one in which there are still troubles afoot: Miniature homeless individuals appear to sleep along the edges of the Whitney’s windows, while a room resembling a laboratory or operating room includes toilets overflowing with waste—an environment seemingly neglected or abandoned in a hurry. This is a world that reflects our own hubris, but one that allows us the bird’s-eye distance to see it from the outside.
Golden’s work punctuates the fifth floor of the Whitney, which is generally noisier and more angry than the biennial’s sixth. Occupy Museums, given prominent placement at the center of the floor, anchors the space with a quote from Blackrock CEO and Trump adviser Larry Fink running along the top of its wall-scale installation, leaving no ambiguity about the organization’s concerns: “The two greatest stores of wealth internationally today [are] contemporary art [...and] apartments in Manhattan.”
A projector on another wall shows a figure of over $43 million representing the total current debt owed by artists, while screens beneath invite you to complete a questionnaire about your experience and perspective on the art world economy and the 99 percent. Nearby, ’s
whirring, shifting kinetic sculptures made of flat screen TVs, tchotchkes, cell phones, and mannequins are disorienting meditations on climate change and mass migration; and the collective Postcommodity places viewers in the midst of footage along the U.S.-Mexico border, which spins around you to dizzying effect.