When I first proposed curating this exhibition on the subject of paranoia, it was September 2016, a little over a month before the United States presidential election. Donald Trump couldn’t possibly win, and we were about to see the momentous election of our first woman President. I had long been interested in paranoia—as an affliction, a strategy, and an ontological system. I took it seriously, very seriously, but it also felt like something outside of me, a symptom of something kept at a distance.
Both during the campaign and in its aftermath, things began to swing out of control. Incidents like ...