Installation view, Andrea Geyer. Insistence. 2013. Video (color, sound). 15:21 min. The Museum of Modern Art, New York. The Modern Women’s Fund. ©2015 Andrea ArtSeen December 9th, 2015 WALID RAAD and ANDREA GEYER by Phillip Griffith WALID RAAD OCTOBER 12, 2015 – JANUARY 31, 2016 ANDREA GEYER Insistence THROUGH NOVEMBER 15, 2015 ANDREA GEYER Revolt, They Said THROUGH NOVEMBER 29, 2015 MUSEUM OF MODERN ART, NEW YORK On November 11, art historian Carrie Lambert-Beatty and artists Zoe Beloff and Katarina Burin gathered at the Graduate Center, CUNY, to discuss “Fabulated Archives.” Much of the conversation revolved around what Lambert-Beatty has termed “parafiction,” or art works that construct elaborate ruses to draw audiences into a fiction.1  At MoMA uptown, a survey of work by Walid Raad and a smaller pairing of two works by Andrea Geyer took on similar questions about what and how an archive can relate to its users. Viewers familiar with Raad’s work will find well-known examples of the images, videos, and fictions about Lebanon’s civil war that he created under the collective moniker The Atlas Group (1989 – 2004). These works are no less exciting for their familiarity. With The Atlas Group, Raad produced works that loaded conceptual and affective heft into notions of the archive and, especially, the photograph. The other series on view, Scratching on things I could disavow (ongoing since 2007), finds Raad still exploring Geyer, courtesy Galerie Thomas Zander, Cologne. The Museum of Modern Art (October 16–November 15, 2015). Digital image © 2015 The Museum of Modern Art, New York. Photo: John Wronn.