The article, published by ArtReview, examines the upcoming 61st Venice Biennale (2026), titled *In Minor Keys*, which was conceived by artistic director Koyo Kouoh before her death from cancer in May 2025 at age 57. The exhibition, based on Kouoh's drafted concept and completed by a curatorial team including Rory Tsapayi, Siddhartha Mitter, Marie Hélène Pereira, Gabe Beckhurst Feijoo, and Rasha Salti, adopts a musical metaphor of "minor-ness" and aims to avoid the pitfalls of previous Biennales by focusing on soul frequencies and dissonant harmony rather than direct commentary on world crises. The author, Martin Herbert, questions how critics will respond to a posthumous exhibition of this unprecedented scale, noting that previous artistic directors like Robert Storr, Cecilia Alemani, Christine Macel, and Adriano Pedrosa have faced varied critical receptions.
This matters because the Venice Biennale is the world's most prestigious contemporary art exhibition, and the posthumous realization of a curator's vision raises unique questions about authorship, critical reception, and legacy. Kouoh was the first African woman to direct the Biennale, and her untimely death adds emotional and historical weight to the event. The article also reflects broader trends in biennial criticism, where curators are often subjected to harsh reviews, and explores whether a show completed by others can be judged fairly. The outcome could set a precedent for how future posthumous curatorial projects are evaluated.