This essay forwards the idea of the transient museum, a theoretical and utopian project aimed at dismantling the visual logics that support the contemporary art museum. Beginning from the premise that such museums are predicated upon colonial and capitalist visual logics, the transient museum imagines ways of being in but not of the contemporary art museum and the economies of circulation it engenders. Its tactics engage visuality but, equally, a politics of the body and of movement. As such, Gwyneth Shanks frames two ways of performing the transient museum, against acquisition and an aesthetics of concealment, analyzing highly performative artworks by artists Rafa Esparza and Nari Ward to explain these categories. She argues that the transient museum names ever-accumulating forces of global and historical crisis—forces to which neither the museum nor contemporary art are immune—as a practice of enacting hope and remaking the contours of contemporary art.

本文介绍了临时博物馆的概念，这是一个理论和乌托邦式的项目，旨在消除支持当代美术馆的视觉逻辑。从这样的博物馆以殖民地和资本主义视觉逻辑为前提的前提开始，短暂的博物馆想象着存在的方式，但不是当代艺术博物馆的存在方式，而是它所带来的流通经济性。它的战术既有视觉感，又有关于身体和运动的政治意义。因此，格温妮丝·尚克斯（Gwyneth Shanks）提出了两种方式来表演临时博物馆：反对收购和掩盖美学，分析艺术家拉法·埃斯帕萨（Rafa Esparza）和纳里·沃德（Nari Ward）的高绩效艺术品，以解释这些类别。