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Doris Salcedo’s installation Shibboleth at the Tate Modern in 2007 has inspired fine commentary, but few critics have directly addressed the work’s title. Given that Salcedo drew on poems by Celan in subtitles for her earlier Unland series, it is quite possible that her title Shibboleth deliberately evokes Celan and Derrida. This title sharpens the work’s evocation of a meshwork of testing, sorting, control and sequestration, yet also opens another fissure, pointing to the exposure of poetic language that defines and inspires Celan’s work.

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