With his Bidoun Projects, “dedicated to supporting contemporary art and culture from the Middle East and the diaspora”, he climbed into the gilled art world, subtly via the back window with "The Bidoun Library", a mobile collection of books, magazines, and other printed materials, used to survey the Middle Eastern and West African landscape. This sounds innocuous enough, but the material isn't for cultural education, but for objectification, as a critique of a more unconscious production of sudo- intellectual materials that intersect between history and the desire for power, greed, and financial gain. In this "collection of the strangest and worst books in the word on the subject of the Middle East," which we are reminded is a western imposed label. The traveling library, seems more a traveling circus of the perversity of America gun boat diplomacy/ foreign policy traveling though some of the most affected countries Cairo, Beirut, and on to London and finally, New York City.
Radak, now that he's inside the art world, is properly ready to wreck some shit. And like Rushdie, he's got enough cultural weaponry to give "good art" combined with exposing what Samuel Beckett termed "the mess". As with his latest salvo, entitled "Shanzhai Biennale", which is à propos, because Radboy "lifted" the term, like crack fiends lift hubcaps and man-whole-covers in the Bronx to scrap for coin, Radboy lifted the term from the 1996 Chinese Shanghai Biennial, and bootlegged it. Below is the authoritarian Chinese Government's description of the 1996 event.