Marfa, Minimalism, and the Fight for Legacy
By Wim Langedijk for HURS
Marfa, Minimalism, and the Fight for Legacy
HUR Reads is our definitive shortlist of the most prominent articles from around the web.
By HURS Team
1
Women Have Always Looked Out for One Another. It’s Never Been Risk-Free.
For as long as women have dated, they’ve warned each other about the men to avoid. Once whispered over wine, those warnings now live online—sharper, faster, and infinitely riskier. Tea, a buzzy app with four million users, promised to make the whisper network global. Then came a devastating breach: names, photos, even IDs spilled into the wild. From early 2000s sites like DontDateHimGirl.com to Facebook exposés and TikTok’s viral “Are We Dating the Same Guy?” confessions, women have turned private cautionary tales into public acts of protection. But with virality comes dangers—lawsuits, fake profiles, fabricated claims. Still, the instinct to protect each other is unshakable.
THE NEW YORK TIMES
After a devastating fire in 2021, Donald Judd’s Architecture Office in Marfa, Texas, is poised for a remarkable revival this fall under the care of the Judd Foundation. Purchased by Judd in 1990, the office was the creative heart of his architectural explorations until his passing in 1994. This restoration embraces Judd’s ethos of “reasonableness,” blending sustainable materials and climate-conscious design to safeguard both the building and its archives. Once a quiet desert town, Marfa now stands as a living tribute to Judd’s legacy—a place where art, architecture, and landscape harmonize. The reopening not only restores a historic site but also reaffirms the enduring power of minimalist vision and mindful stewardship.
T MAGAZINE
How did cinema manage to bury so many women behind the scenes? For decades, female filmmakers faced censorship, limited distribution, and systemic sexism that kept their groundbreaking work hidden. Films like Portrait of Jason by Shirley Clarke and Losing Ground by Kathleen Collins were overlooked until recent restorations reignited interest. The erasure wasn’t accidental. To ensure today’s women directors aren’t lost to time, the industry must radically rethink how it supports and preserves female voices before more brilliance is sidelined.
A RABBIT’S FOOT
An unsettling new trend has disrupted WNBA games: lime-green dildos thrown onto courts, halting play and raising serious safety concerns. Indiana Fever’s Sophie Cunningham was nearly struck mid-game, prompting coaches and players to publicly condemn the childish stunt. Amid the chaos, Sparks guard Kelsey Plum’s cool composure—simply kicking objects off the court—has highlighted the players’ professionalism and focus. This bizarre moment exposes the discomfort some feel about women claiming space in sports – and a failed attempt at trivializing the season’s most relevant games.
THE CUT
Madeleine Schwartz interviews Marie NDiaye, one of France’s most celebrated contemporary writers. NDiaye is known for her precise, unnerving prose and surreal, often violent scenarios—women renamed by everyone around them, strange pregnancies, or inexplicable alienation. Since publishing her first novel at seventeen, she has written 29 books, won the Prix Goncourt, and collaborated on films such as White Material and Saint Omer. NDiaye rarely revisits her own work, writing in short, highly productive bursts after long mental gestation. Fascinated by parables, goodness, and unfathomable acts like infanticide, she prefers to discover her stories as she writes, following vivid, unexplained visions rather than rigid plans.