CONSPIRACIES RESIST DESCRIPTION. Should one write about them with curious dispassion, and risk reducing them to a cheap Wunderkammer of fringe ideas, or should one follow each strand in a web of nested citations and risk becoming tangled in tedious pedantry? Thankfully, the Met Breuer’s recent exhibit, Everything Is Connected: Art and Conspiracy , curated by Douglas Eklund and Ian Alteveer, offers an alternative, one that will hopefully bring new energy to the tired discussions about a broad range of American conspiracies. As the curators explain in their handsome and deeply researched exhibition catalog , they deliberately avoided the term “conspiracy theory,” which seemed reductive and dismissive (famously, the CIA encouraged operatives to use the term in their quiet campaign against alternative explanations of JFK’s assassination). “Theory,” with its etymological root in spectatorship, is not their aim. Instead, the exhibit does something far more compelling: it dramatizes conspirac...