advising that a doctor be on hand when the film was shown because it could trigger photosensitive epilepsy. It appears that access, perhaps in less well-intentioned ways, was built into these traditions as an exercise in posturing. Lazard, however, reads these ideas in good faith but lends a remedial edge to the practice and thinks through infra- structures of access as aesthetics. Red was made during the COVID-19 pandemic and is very much informed by the technologies and environments that were available to work with at the time. The structural proclivity of this work speaks to that moment when the social constrictions that were placed on everyone were all too familiar to those already living with chronic conditions or immuno- compromised status. As with much of Lazard’s work, Red foregrounds access as an embedded condition of making and not an accommodation to normative experience. In this sense it looks to the past, and to a generation of visionary artists who offer continual inspiration, but reflects a better understanding of who culture and the arts are for. Hers is a gesture of intergenerational kinship, constitutive of more equitable futures.
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