I was surfing through an old Martin Kippenberger survey on the Tate Modern’s awesome web site this morning when I realized two things. First, the awesome web site really is awesome. For each big show, the exhibition rooms are represented on a sequence of separate web pages, each with text and multiple images. Would that all museums would take this kind of care with their web presence.

Second, I saw this current show:

Media Burn explores the boundaries between art, politics, protest and the media. It combines contemporary works with those from the 1970s and 1980s, all sharing a DIY, collage aesthetic that involves manipulating the images and techniques of the mass media.

The artist list: Ant Farm, Wynne Greenwood and K8 Hardy, Sharon Hayes—wait, go back to Wynne Greenwood. Wasn’t she in Seattle last I looked? Yes, in fact, she was. Greenwood, often known as Tracy + the Plastics, the video “band” of three women, all of whom happen to be Greenwood, was in New York for a while there, but she moved back last year to the Northwest. I caught her at the opening of the Critical Line gallery in Tacoma in May, and at that point, we were playing e-mail tag, and I had to admit I’d been remiss in not writing her back sooner. We agreed we should get together, I marched right back to my computer and e-mailed her, and I never heard back. I emailed her again this fall. Again, nothing.

Wynne Greenwood, Wynne Greenwood, where are you, besides London? You don’t call, you don’t write. I want to talk to you, and we all want to know what’s up!

For now, we’ll have to be satisfied with knowing that Greenwood has a “spoof feminist news report” in Media Burn at the Tate (I presume it’s pictured here in the foreground, but the museum’s caption doesn’t specify). The other artists in the show include Valérie Mréjen, Martha Rosler, Peter Kennard, Sharon Hayes, Jens Ullrich, and Josephine Meckseper.