Cuthand uses a latent gas mask fetish as a jumping off point for looking at her role as a participant in the Whitney Biennial during a contentious year for the museum which had a war profiteer on the board. Faced with calls to withdraw, Cuthand talks about the considerations she had for trying to come up with a way to protest while also being implicated in Kander’s artwashing. Using the gas mask as a potential protest image, she also discusses visiting Chemical Valley, a site in southern Ontario where 40% of Canada’s petrochemical industry lies, and how her visit also left her implicated in artwashing petrochemical money.


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