The globalist outlook that has marked Mohebbi’s stewardship of New York’s Sculpture Center showed no sign of abating this year; nor did the Iranian-born curator appear obliged only to showcase ‘sculpture’. Early in the year, Mohebbi brought the moving-image strand of 2023’s Taipei Biennial to the US, featuring works by Li Yi-Fan, Jen Liu and Jumana Manna, among others (and in a neat extramural East–West flip, he curated the film programme of Art Week Tokyo in November). Meanwhile, the institution spotlighted all kinds of simultaneously forward-thinking and slantwise practice: from Bastien Gachet’s complex self-described ‘dramaturgy’ of faked and fabricated objects to Phoebe Collings-James’s abject ceramics. This summer saw artist and choreographer Alexa West use the art centre as a stage for constantly unfolding rehearsals, exploring the intersection of dance and sculpture. In a recent piece collecting ‘notes to self’ for Mousse, Mohebbi invoked the Caribbean notion of ‘mawonaj’, meaning to be pointedly difficult to pin down. At Sculpture Center, he’s walking the talk.