ABSTRACT

To enter the Hybrid State exhibit on Broadway, you enter The Passage. Instead of a gallery, you find a dark antechamber, where one white word invites you forward: COLONIALISM. To enter wlonial space, you stoop through a low door, only to be closeted in another black space - a curatorial reminder, however fleeting, of Fanon: 'The native is a being hemmed in'.l But the way out of colonialism, it seems, is forward. A second white word, POSTCOLONIALISM, invites you through a slightly larger door into the next stage of history, after which you emerge, fully erect, into the brightly lit and noisy HYBRID STATE.