“That the world is out of joint is shown everywhere in the fact that however a problem is solved, the solution is false.” – Theodor Adorno
After years of political negligence, a failed architectural proposal, and prolonged economic recession, the Vancouver Art Gallery (VAG) is finally getting a new building at Larwill Park. A good dose of public elation, institutional relief, and civic boosterism has accompanied the announcement. But situated squarely within the double-edged contradictions of cultural production and presentation, the new VAG might be less a rebirth than a last gasp. To complicate matters, a wild spate of developer-city-state evictions of artist-run spaces have recently exacerbated the fierce symptoms of Vancouver’s rapid gentrification. And with the surprising yet decisive re-election of a BC Liberal majority at the provincial level, coupled with unilateral corporate control at the municipal level, the political and aesthetic status quo appears practically guaranteed. The VAG’s announcement in the context of ongoing neoliberal reforms and much decried cultural fragmentation and displacement, may yet be a “kiss of death” for Vancouver — sweet at contact, but fatal in the long run. Viewed critically, the announcement seems more sobering than joyous, more foreboding than fortunate.