Abstract
This essay foregrounds multiple modes of formlessness in Abang-guard’s emphasis on making the unrecognized labor of museum guarding tangible. Nestled within their hope that greater recognition might help change the political landscape is an invitation to think complexly about how questions of representation are related to those of form. This is because their work shows how the ability to perceive form often relies on submerging something else—a condition of possibility that we might describe, in turn, as “formless.” However, the essay also argues for thinking beyond an equivalence between invisibility and formlessness by examining how Abang-guard produces a formlessness that is atmospheric and engulfing, thereby shifting the affective and political registers through which formlessness is understood. Instead of focusing only on invisibilization, Abang-guard stays with the excess of formlessness, amplifying our ability to perceive the uncapturable by labor or even representation.
