There was defensive huffing and puffing in the American media on Iranian-born Mohebbi’s Carnegie International, titled Is it morning for you yet?, which closed in April, having traced ‘the geopolitical imprint of the United States’. One New York Times reviewer sulked that ‘I knew that the United States had left bloody footprints in Latin America, in Southeast Asia, in Africa – and so on. But I don’t think I’d ever before tried to keep all those separate wars and coups and interventions in mind at the same time’. These were represented by works ranging from Felix Gonzalez-Torres’s 1988 four-panel painting of the Palestinian flag to a survey of Indonesian painter Kustiyah (1935–2012); new commissions such as Banu Cennetoglu’s right? (the letter balloon bouquets of the first ten articles of declaration of human rights that deflated during the run of the show); Thu Van Tran’s Colors of Grey (a mural made from the colours of Rainbow pesticides); LaToya Ruby Farzier’s More Than Conquerors: A Monument for Community Health Workers of Baltimore, Maryland; paintings by Andy Roberts and the archives of Chile’s once-exiled Museo de la Solidaridad Salvador Allende. Now back at his job as director of New York’s SculptureCenter, Mohebbi’s outlook is no less pointedly international, programming shows of Mayan Kaqchikel artist Edgar Calel and the tactile sculpture of Mexican Tania Pérez Córdova.