Talking to The Art Newspaper about her Venice Biennale, Cecilia Alemani said she wanted to ask questions about the ‘morphosis of the body and the definition of humanity’. If that sounds familiar, it’s down to the popularity of Haraway’s thinking. So while there were no new books, her legacy breezed through Venice and beyond: the title of Manifesta 14, in Prishtina, also paid homage to the professor emerita in the history of consciousness and feminist studies programmes at the University of California, Santa Cruz with it matters what worlds world worlds: how to tell stories otherwise, and she continues to be namechecked in exhibition blurbs the world over. As artist Anicka Yi explained of Haraway’s thinking: ‘It’s just so much in my DNA… the layers of her education for an artist like me has become so deeply embedded that you wake up and don’t even actively think about it specifically anymore. It’s become so much a part of the paradigm.’