Art is not just an object to behold; it embodies a complex choreography of human interaction and institutional behavior. Maia Chao, an innovative artist, challenges the conventional perception of museums as neutral spaces. Instead, she views them as environments that shape visitor behavior and engagement. This week, as part of the 2026 Whitney Biennial, Chao will bring her performance titled "Being Moved" to life in the museum's seventh-floor galleries.
Chao's work often resonates with themes of institutional critique, echoing the concerns of past artists like Adrian Piper. Her 2017 project, "My Business (Cards)," creatively responded to the question of racial identity by presenting a multiethnic genealogy in the format of a business card, thereby addressing the complexities of racial categorization. An upcoming photographic project in collaboration with Times Square Arts will explore the maintenance labor that goes into preserving public spaces, drawing parallels with Mierle Laderman Ukeles's concept of "Maintenance Art."
In a recent conversation, Chao reflected on her upbringing in a family of artists in Providence, Rhode Island, and her academic journey in cultural anthropology at Brown University. These experiences have shaped her understanding of the precarious nature of artistic practice and the privileges that come with pursuing creative endeavors. Chao expressed the emotional weight of art-making, particularly when navigating the challenges of creating politically engaged work within institutional frameworks.
Her performance "Being Moved" scrutinizes the theatricality of museum visits, highlighting the discrepancies between the ideal of profound engagement and the ambivalence often felt by spectators. Chao's work invites viewers to reconsider their expectations of art, prompting questions about its purpose and the emotional connections it can foster.
Chao's earlier initiative, "Look at Art, Get Paid," which involved inviting non-visitors to critique museum experiences, underscores her commitment to inclusivity in the art world. This project not only provided insights into the barriers faced by marginalized communities but also led to tangible changes in museum policies regarding accessibility and representation.
In "Being Moved," Chao exaggerates common visitor gestures, transforming them into a synchronized performance that challenges the habitual nature of museum behavior. This approach serves to illuminate the performative aspects of spectatorship, encouraging visitors to reflect on their own experiences within the museum context.
Moreover, Chao's work interrogates the role of art as a vehicle for social change, examining the museum's potential to facilitate or hinder genuine political engagement. Through her performance, she raises critical questions about the effectiveness of art in promoting awareness and collective action, particularly in light of recent discussions surrounding institutional accountability.
Maia Chao's "Being Moved" promises to be a thought-provoking exploration of the intersections between art, audience, and institution, urging us to rethink how we engage with cultural spaces. As we look to the future, Chao's innovative approach may pave the way for more inclusive and participatory art experiences in museums.