“Full Disclosure aligns with Alpesh Kantilal Patel’s case for an exposure of personal history in his book Productive Failure: Writing Queer Transnational South Asian Art Histories. Patel argues that he cannot write histories outside of his own biases and identity, disclosing personal information about himself at the onset in order to render his text as a subjective entity that exists within a context. In his introduction, Patel acknowledges that the art history he writes will be limited; that it is actually impossible for it to be the only art history and totally comprehensive. Thus, his endeavor is a type of productive failure.    

Curators Shelly McMahon and Katrina Wu find that full disclosure is a viable strategy within art-making to oppose current political authority seeking to uphold a singular, patriarchal narrative by falsifying and distorting information. This attempt to spin journalist coverage to align with a singular agenda excludes a majority of experience and results in dysfunction leading the community to stagnate. McMahon and Wu aim to present artists and their works under the context of Full Disclosure: as non-fixed entities that exist within a multiplicity of experience.“

Full Disclosure was on view during Schmuck 2019 in Munich.