In a seismic year, female artists take centre stage, while a timid institutional response leaves Ukraine to valiantly fend for itself
t’s the most momentous biennale in living memory. I have never seen anything like it. This has nothing to do with the war, of which more later, though the Russian pavilion is closed and the borscht-coloured super-yachts all duly banished. Nor is it to do with the year-long delay caused by a pandemic that has no visible reflection whatsoever in the many thousands of works of art; nor is it even to do with the art itself.
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