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Russian curator Ekatarina Degot on Manifesta 10: While earlier editions of Manifesta often declared their social engagement, they were rarely able to engage a local public in the broadest sense, imagining that critical art would find its audience in the new precariat of a post-industrial age. In reality, the “career” art of Manifesta addresses the instances of that career; it caters to curators and institutions. The Hermitage edition of Manifesta is a clear departure from this model, but the audience it addresses—tourists from the Russian provinces and foreign passengers from Baltic cruises who usually visit the Hermitage—will be hard to mobilize for critical thinking, let alone resistance.