shiv kotecha



The Switch (Wonder, 2018)
Extrigue (Make Now, 2015)


The Unlovable (2016)
The Taiwan Blue (2015)
The Iron Horse (2014)
Outfits (2012)
Paint the Rock (2011)

selected fiction

“Discarnate Nude”

selected short-form

“Operations of Pleasure: The World of Nayland Blake,” frieze


“Monica Majoli Paints the Hunks of Gay Liberation’s Halcyon Days,” frieze

“’It’s Time You Became a Refugee!’: The Films of Ritwik Ghatak,” frieze
“Painting the ‘Quiet Freedoms’ of New York’s Queer Island,” frieze
“Harry Dodge Reminds Us That We’re Not Alone,” frieze
“Tony Conrad Thought of Everything,” frieze
Painter Cy Gavin’s Transhistorical Reckoning,” frieze
“How David Robilliard Merged Poetry and Painting,” frieze

“On Michael Muhammad Knight’s Muhammad: 40 Introductions,” frieze
“B. Wurtz’s Art of Domesticity,” frieze


“A Room of Once Owned,” frieze
Huma Bhabha's Extraterrestrials Land In New York,“ frieze
“Who Has The Power: A Conversation with Aruna D’Souza,” Art in America
“Danh Vo, Take my breath away,” frieze

past talks/readings

press << reading series 

photo credit: Jameson Fitzpatrick

Shiv Kotecha is the author of The Switch (Wonder, 2018) and EXTRIGUE (Make Now, 2015). He is the New York contributing editor at frieze magazine. Writing can be found in friezeArt in America, The Brooklyn Rail, The Los Angeles Review of Books and in other publications. He is also a PhD candidate in NYU’s Department of English.


EXTRIGUE is a shot-by-shot rendering of Billy Wilder’s Double Indemnity.

Purchase @ SPD

Like a post-conceptual Pompeii, Shiv Kotecha’s EXTRIGUE archives the rubble of language as forensics. Freud's Little Hans meets Lynch's Mullholland Drive. EXTRIGUE works repetition and perception in order to collapse time. Through his numbered sequencing of the human stain, Kotecha pulls us into an endless present: “345. A FLAME THAT FADES INTO A PHONE A MAN THAT FADES INTO A MAN A LAMP THAT FADES INTO A BOOK SMOKE THAT FADES INTO A HAT.“ EXTRIGUE, outside of self, is the canoptic jar of the now.


Description and counting. Where counting things is also just counting and describing things is also just describing. Things happen and counting and describing happen. What would it mean to make each of these a temporary enjoyment zone? What about the temporary enjoyment zone that somehow happens between these zones? Shiv might know. Or at least EXTRIGUE knows it for him. It is nice of Shiv to set up a little gadget that does this for him and does this for us (if we are lucky). What more could we ask for? What more could we ask of him? Nothing. There is nothing more or left to ask.


EXTRIGUE is a severely empty poem. It might seem to be an exhaustive catalog, but it is rigorously and laboriously blank. It might seem to be procedural, but there is no action. It’s a really good and static book.


“If the items (numbered) in EXTRIGUE resemble Objects, Rooms, and Foods we’ve grown accustomed to in Stein’s Tender Buttons, it is because PAUSE is the tenderest button of them all. She never could have known.“
―DIVYA VICTOR, The Poetry Foundation

Pause is the tenderest button: On Shiv Kotecha's EXTRIGUE“ by Divya Victor