ABSTRACT
This chapter discusses the argument that the “resistant force,” first ignited by Liberate Tate in 2010, has grown and morphed into what can arguably be understood as a new iteration of institutional critique. The premise for the second wave of institutional critique, which emerged in the 1980s as a subset of critical postmodernism, was the recognition that the agency of the first wave was undermined by virtue of the fact that it was authorized by the same art institution it sought to critique. Interstitial critique emerges in response to the growing consensus that neoliberal globalization is plunging Planet Earth toward a catastrophic climate crisis. The Reclaim Shakespeare Company infiltrated BP’s sponsorship of the 2012 World Shakespeare Festival, by commandeering the stage as the plays were about to start and performing their guerrilla interventions in iambic pentameter, while dressed in Shakespearian costumes.
