After Hurricane Katrina devastated New Orleans in August of 2005, centuries-old hierarchies were overturned, spatial boundaries rendered unrecognizable, and artists on multiple fronts coalesced into communities with a similarity of purpose: to produce experimental contemporary art in New Orleans linked to a global rather than regional dialogue, and to test the role of art as a force in building community and engaging in pedagogy in a post-disaster context. This urgent need to connect artistic activity to a greater social rebuilding process, along with the compacted changes to the redefined and renegotiated arts sector in New Orleans, led me to focus on the massive game-changing inception of the first international United States biennial exhibition, Prospect.1 New Orleans.
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