A year after winning the Turner Prize in 2023, Darling told The New York Times that he wasn’t sure he still wanted to be an artist. That doubt and disquiet went back into the work: his recent, conscience-stricken Berlin show at Galerie Molitor, The Contractor, debuted wonky kinetic sculptures alongside textual and visual allusions to the problems of making art in a world on fire. It’s characteristic of Darling’s racked, influential outlook, which has spearheaded a nascent ‘crip art’ movement to evoke a loose community of the different, damaged and vulnerable via spatial orchestrations of bent crutches and walkers, Kafkaesque concrete-filled ring-binders, steel crowd barriers and hazard tape. While he has a substantial show opening at Amsterdam’s Oude Kerk next year, Darling pointedly avoids overexhibiting, focusing instead on teaching at Oxford’s Ruskin School of Art, sometime music-making and occasional viral pronouncements that call out artworld bullshit. It’s a model for honesty – and living uncorruptedly with yourself – in a dishonest field.