Good Morning

The U.S. Holocaust Memorial Museum has been quietly altering its own content since Trump returned to office — not because the administration demanded it, but because the museum anticipated the demand (Politico). That particular reflex — institutions reshaping themselves before anyone even asks — shows up across today’s stories. Josh Kline’s viral essay is a despairing elegy for a New York art world that real estate priced into irrelevance (ARTnews). The Chronicle of Higher Education traces how humanists helped wreck the humanities (Chronicle of Higher Education). At the New Yorker, a fact-checker writes about being illegally fired after leading the magazine’s union. Condé Nast, it seems, might violate labor law before it’ll tolerate organized workers (The Nation).

On a brighter note, Minneapolis’s major arts institutions are mostly posting surpluses after some brutal years (Star Tribune). And Duchamp — whose century-old question about what counts as art still hasn’t been settled — gets a fresh reassessment (The New York Times). See you tomorrow.

All of our stories below.

Latest Stories

Fact-Checker Jasper Lo On His Illegal Firing From The New Yorker

“Why me? I wondered. I had finished my three-year term as the first vice chair of the New Yorker Union the week prior. Condé Nast had violated our collective bargaining agreement and broken labor law dozens of times, but it had never attempted something as reckless as illegally firing...

How Two Recent AI Publishing “Scandals” Will Changing The Books Industry

Stories like Shy Girl and The New York Times’ profile of AI romance author Coral Hart, who boasted of using AI to write and self-publish 200 hundred books across 21 pen names, demonstrate that theoretical disputes did not prepare us to be confronted with the reality of AI. - The Conversation

Original Dancers In Pina Bausch’s “Kontakthof” Revive The Piece After Half A Century

“Nearly 50 years since that first performance in 1978, Meryl Tankard is getting the Kontakthof band back together. Now a choreographer, she has assembled nine of the dancers (including herself) and adapted the piece to synchronise with black-and-white footage of their younger selves projected onto a giant screen behind them.” -...

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