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FROM THE ARCHIVES: Mildred Thompson in conversation with Guillermo Gomez-Peña and Keith Antar Mason for ART PAPERS January/February 1993.

Gabriel Cira reveals how confounding façades can also reinforce the dominant narrative by masking economic differences to favor a mirage of homogeneity. Photos by Pat Falco.

Just outside Atlanta, one of America’s most diverse refugee destinations.

Anna Gallagher-Ross discusses interactivity and borders as social and political constructs with Tania El Khoury.

Millions of dead birds follow such new migratory paths, which draw capital from the south and the east into the north and the west. Often, these paths consolidate, convene in the centers of the colonizing empires—London and Paris—for a few years, or decades, before moving on to museums in the new world. These routes are not the birds’ natural flyways. They are new paths toward a capitalist archive that usurps purpose from the world it exploits.

A constellation of thoughts about art and borders.

Reporting as a performance observer and implicated participant.

How green was my uncanny valley?

Organizing these materials in our studio is the outermost tip of a complex global distribution network of intricate webs of highways, shipping routes, rail lines, and flight paths—a planetary vascular system and neural network, a pulsing flow of matter and information covering the surface of the earth.

Photographing the Global Seed Vault, an artist experiences “a sobering feeling of inescapability” at the junction of geological past and humanity’s future physical fragility.

Letter from the Editors

Too Much Artificial Intelligence

These glossaries are far from exhaustive, but they may be useful for understanding the jargon of labor organizing.

Every week, after the Friday prayer, my dad would drag me along with him to the main fish market in Kuwait—where I lived until I was seventeen—to buy our seafood, raw and wriggling.