Adrian Piper has not set foot on American soil for over a decade – not since the American- born artist/philosopher, who moved her primary practice to Berlin in 2005, discovered the following year that she’d been added to a US watch list for "suspicious travelers" (a blanket designation, the criteria for which the Transportation Security Administration has never fully revealed). Active since the mid-1960s, Piper has garnered a reputation as among the most politically uncompromising of artists to emerge – and more crucially, maintain urgency – over the past five decades. That this methodical and intellectually rigorous artist came into maturity and established a place for herself within New York’s 1960s Conceptualism, a movement founded on theoretical premises followed to their logical ends, is perhaps not surprising. But the career she went on to carve out would both defy elements of the movement’s logic (specifically, its emphasis on objectively defined aesthetic experience) and upend numerous contemporary artistic conventions – primary among them, that ‘serious’ political art is best served cold and dry. . .