Art Criticism & Reviews


Communist History, Unclassified (published in Afterimage, Vol. 35, No 6, May-June, 2008)

Yevgeniy Fiks; Ayn Rand in Illustrations (exhibition review, published in ARTMargins, October 17, 2010)

Administered Occupation: Art and Politics at the 7th Berlin Biennale (published in Art Journal Open, April 18, 2013)

Circling the Square: Maidan and Cultural Insurgency in Ukraine (book review, publish in The Brooklyn Rail, July 15, 2014)

The Political Poseurs of Contemporary Russian Art (exhibition review, published in Hyperallergic, February 25, 2015)

Art for the Other 90% (summit review, published in Manifest Journal, No. 11. 2010/2011)

ALBARUSSIA: LOGIC OF THE NOMOS (published in The Moscow Art Journal, 1998)

Between State and Public: "What's the Time in Vyborg?", A Project by Lisa Roberts (published in ArtMargins)


Discussions & Interviews


Future without Utopia
A conversation between critic Linda J. Park and curator Olga Kopenkina on exhibition Properly Past at the BRIC Rotunda Gallery in New York City.

Solitude of Collectivism
Questions pertinent to changes in models of artists' political activity and artistic practice since modernism were addressed to three New York-based artists – Martha Rosler, Pablo Helguera, and Yevgeniy Fiks, who – each in her/ his own way – leads a polemic with modernist and post-modernist forms of artists' engagement into politics.

Legally Soviet: A Conversation
This conversation between Moscow-born, New York/based artist Yevgeniy Fiks and curator Olga Kopenkina raises issues pertinent to Fiks’s work since the early 2000s, which has been focused on the legacy of the Communist movement in the West. His practice is informed, on the one hand, by the legacy of late-Soviet visual culture and, on the other, by developments in contemporary Western, left-leaning art. Fiks’s post-Soviet diasporic subjectivity is revealed in a series of projects devoted to the legacy of the Communist Party USA, which signal the ‘‘return of historical memory.’’  Pursuing a critical reexamination of twentieth-century political history in both East and West, Fiks proposes a notion of ‘‘critical nostalgia’’ in stark contrast to the nostalgic melancholy of the 1990s.