ABSTRACT
I first interviewed Rafay Rashid because of his participation as a host in Asad Raza’s curatorial project Life to come at Metro Pictures gallery in New York in 2019. It occurred to me how important his voice was to understanding this kind of practice, and although many scholars have pointed this out, it still seemed there was no book that acted as a source for this kind of experience. Rashid joked that he never knew how to include this practice on his resume when applying for residencies and funding, so there was a way in which its very obscurity in the literature was causing a sustainability problem for practitioners in the field.
