Lawrence Abu Hamdan’s commissioned project, A Convention of Tiny Movements (2015). Part of it (there’s also an audio essay) is 5000 bags of potato chips distributed through the fair. The back is printed with a text about computer scientists at MIT who developed a system that can, by reading the small vibrations in any given object, recover the sounds that produced them. It means that any object can become a listening device, including any of the bags of chips produced for the fair. As I write this, the (ahem, empty) bag of chips beside me on my desk, I’m reminded—in case I forgot amidst all those paintings—that a small intervention in the tried-and-tested structure of the art fair can once again turn everything political. Of course it’s possible to see art at a fair and think through surveillance, larger political structures, and economics beyond just those of the art world.
rest of the great article by Orit Gat here..