...feeling that the world is hurtling toward one disaster after another redoubles my senses of commitment to art-making that disrupts complacency.
– Coco Fusco
Across three decades of intellectual and artistic research, Coco Fusco’s work has engaged with and interrogated the complexities of race, colonialism, exile, gender, identity, and the shaping of new societies. A remarkably interdisciplinary artist and writer, Fusco’s significant contributions span performance, video, exhibition practice, archival research, and writing. Her practice frequently reflects on conceptual and embodied existence within socio-political frameworks, plumbing the depths of representation and their effects on cultural memory.
Coco Fusco (b. 1960, New York, USA) lives and works in New York.
Fusco was the feature of the retrospective Tomorrow, I Will Become an Island (2023) at the KW Institute of Contemporary Art in Berlin, which will travel to the MACBA, Barcelona in 2025. The artist’s performances and videos have been presented at the 56th Venice Biennale, three Whitney Biennials (2022, 2008, and 1993), and several other international exhibitions. Her works are in the permanent collections of the Museum of Modern Art, The Walker Art Center, The Art Institute of Chicago, The Whitney Museum, the Centre Pompidou, and the Museum of Contemporary Art of Barcelona.
She is a recipient of a 2021 American Academy of Arts and Letters Art Award, a 2021 Latinx Artist Fellowship, a 2021 Anonymous Was a Woman award, a 2013 Guggenheim Fellowship, a 2013 Absolut Art Writing Award, and a 2003 Herp Albert Award, among others.
Fusco is a Professor at the Cooper Union School of Art and author of Dangerous Moves: Performance and Politics in Cuba (2015); English is Broken Here: Notes on Cultural Fusion in the Americas (1995); The Bodies that Were Not Ours and Other Writings (2001); and A Field Guide for Female Interrogators (2008). She is editor of Corpus Delecti: Performance Art of the Americas (1999); and Only Skin Deep: Changing Visions of the American Self (2003). She is a regular contributor to The New York Review of Books and numerous art publications.
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