The times we are living in are indeed “interesting,” as the title of this edition of the Biennale states: they resonate with a city awaiting the verdict of the forty-third session of the World Heritage Committee, which will likely add Venice to its List of World Heritage in Danger. Venice’s livelihood comes precisely from what is killing it (biennials included): if tourism were regulated, the economic survival of the city would be at risk; at the same time, if it continues to impact the environment of Venice the way it does now, the jewel of the lagoon will soon be destroyed. There are other structural problems related to the ethics of giant exhibitions: accumulation, we all confusedly feel, is damaging for art in general and contemporary art in particular. The implicit equivalence that is made when such large amounts of artworks are simultaneously displayed by private and public institutions on the same limited territory is frightening.

Clear opinions are not expressed in the art world because they earn people enemies, and having enemies is a luxury these days: in a liberal world, nobody can afford them.