“Radicant living has been codified and commodified via the neverending global schedule of biennials, art fairs, panels and openings. Tech companies like Airbnb and Uber extract profit from mobility as we rely on them for on-demand apartments and rides in each new city, while critics and curators fare no better than drivers in the precarious gig economy. Bourriaud’s itinerary now resembles not a whimsical intellectual adventure but the stops of a travelling salesman. It’s a lifestyle the critic Andrew Berardini both summarized and parodied in a 2014 essay for the Canadian art website Momus, ‘How to Survive International Art: Notes from the Poverty Jetset’. Already that piece reads like a nostalgic elegy for a bygone time. Berardini trades Bourriaud’s theoretical polemics for a soft sensualism, evoking the pleasures of travel in the lifestyle of the ‘art nomad’: ‘You live on one continent and work on two others.’ You have ‘a firsthand knowledge of the sunrise over the Po, the sunset over Shenzhen, the crackle of the midday sun as the Acqua Alta wets your calves’. You might be a poor culture-ronin, but you have accidentally attained an enviable ‘air of weary cosmopolitan glamour’, which follows you back to your shabby, expensive flat.”