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April 10, 2026
Latest Quote Added
"When I started investigating my relationship to my identity and what my identity means, it was in the context of artists doing identity-based art. I envy and have a love for people who research in great detail history or some moment in history (say, feminist history), and then present it in a way that’s somewhat didactic and matter-of-fact—and, really, with an effort, a sincere effort to throw meaning out to an audience that, maybe, isn’t conscious of this aspect of history. But I’m incredibly suspicious of that impulse, too. I think that it’s all going to be filtered through one’s subjectivity. And my subjectivity—as a young person, as a person at the end of the twentieth century—my subjectivity is of a sexual woman, as a person who makes sometimes really bad decisions. There was no nobility in trying to do research like that, and in trying to filter my sense of self through the lens of a larger history. It was going to get complicated, and I liked the complications that I was finding. "Kara Walker Projecting Fictions: 'Insurrection! Our Tools Were Rudimentary, Yet We Pressed On'" in Art21 (interview originally published on PBS in September 2003, and later republished by Art21 in November 2011)"
"There is I suppose, historically, this seminal moment in the lives of African Americans where one becomes black. Frantz Fanon and everyone talks about it. There is a moment when you go from subject to object and I guess that was my moment…"
"I think there are many open-ended questions that artists can pose and we can ask communities to feel empowered enough to reply, respond, rebel, and feel amazed by the relentless spiraling of thought and image and action that is the artist's profession."
"Expectations on the performance of race and gender are simultaneously high and low, depending on who is looking or asking. I prefer to keep all the options in the air, to try and better understand the conundrum that inequality creates---not just in culture, but internally."
"There’s no diploma in the world that declares you as an artist. It’s not like becoming a doctor or something. You can declare yourself an artist and then figure out how to be an artist."
Young though he was, his radiant energy produced such an impression of absolute reliability that Hedgewar made him the first sarkaryavah, or general secretary, of the RSS.
- Gopal Mukund Huddar
Largely because of the influence of communists in London, Huddar's conversion into an enthusiastic supporter of the fight against fascism was quick and smooth. The ease with which he crossed from one worldview to another betrays the fact that he had not properly understood the world he had grown in.
Huddar would have been 101 now had he been alive. But then centenaries are not celebrated only to register how old so and so would have been and when. They are usually celebrated to explore how much poorer our lives are without them. Maharashtrian public life is poorer without him. It is poorer for not having made the effort to recall an extraordinary life.
I regret I was not there to listen to Balaji Huddar's speech [...] No matter how many times you listen to him, his speeches are so delightful that you feel like listening to them again and again.
By the time he came out of Franco's prison, Huddar had relinquished many of his old ideas. He displayed a worldview completely different from that of the RSS, even though he continued to remain deferential to Hedgewar and maintained a personal relationship with him.