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Although Gupta’s art is deeply engaged with contemporary political events, it is not headline-driven. It resists didacticism, in part, through being polyvocal, as exemplified in her standout installation Listening Air (2019–23). Defying simple description and rewarding patient immersion, Listening Air consists of multiple microphones-turned-speakers that play songs of labor and resistance from around the world.

In their recent open letter, curators Manuel J. Borja-Villel and Vasıf Kortun protested that “culture and cultural institutions have become a battleground, which the illiberal forces are ready to conquer.” The removal of the bulwarks protecting culture from political interference means, they continued, that “what was once a site for experimentation and autonomy is becoming a site of control.” Recent weeks have provided ample evidence that the erasure of those lines separating a society’s culture from its ec

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