As we bring our Best of 2014 series to a close, our final selection comes from executive director Patricia Maloney, who writes, “Is there a more succinct and scathing critique of institutional staunchness—in the dried up, weary etymological sense of the word—than the one Adam Rompel lobs at the Tate Britain? ‘Precedent is the opposite of cool, and Tate Britain reveled in its gray soul,[…..]

For today’s installment of our Best of 2014 series, we have a selection from regular contributor Adam Rompel, who writes, “What’s better than having an art-existential crisis? Finding the answer to one. I picked this specific ‘Help Desk’ entry because it hits a universal neurotic nerve that all artists have around authorship and originality. It is one that has informed my own work more than any[…..]