Artists based in the United Arab Emirates (UAE) are pressured by international art elites to critique the illiberal regime under which they live. But doing so is illegal. It can lead the state to retaliate with harassment, detention, cancellation of residency visas, and expulsion. Nonetheless, gatekeeping curators and critics validate UAE-based artists’ work as worthwhile and good if these artists critique the UAE state. How do these artists balance the perils of retaliation and deportation with an exhortation to critique the state for the sake of career success and international visibility? They do so by deploying a form of critique predicated on omission and ambiguity; I term it conspicuous omission. This practice reveals norms of critique, and the normative expectations placed on contemporary artists based on their place of residence or origin.

中文翻译：

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可见的批评/批判性的可见性

阿拉伯联合酋长国（UAE）的艺术家受到国际艺术精英的压力，要求他们批评他们所生活的不自由政权。但这样做是违法的。它可能导致国家采取骚扰、拘留、取消居留签证和驱逐等报复措施。尽管如此，如果阿联酋艺术家批评阿联酋政府，看门的策展人和评论家就会认为这些艺术家的作品是有价值和好的。这些艺术家如何平衡报复和驱逐出境的危险与为了事业成功和国际知名度而批评国家的劝告？他们通过采用一种基于遗漏和模糊性的批评形式来做到这一点。我称之为显着遗漏。这种实践揭示了批评的规范，以及基于当代艺术家的居住地或出生地对他们的规范期望。