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On the last Sunday in June 2022, a particularly hot day in Philadelphia, about 100 of us gathered in front of Saint Luke’s landing for the culmination of an experimental AIDS memorial called Gone and for Ever, a community-informed spectacle of sight, sound, and grief—part of Remembrance, a project of the William Way LGBT Community Center and funded by the Pew Center for Arts & Heritage—to grapple with the question of how to memorialize amid the ongoing crisis.

Céline Browning introduces a wave of artists using smart phone apps to reclaim public spaces of protest.

Lydia Horne interviews Doireann O’Malley about getting lost, the building of virtual spaces, and presenting us with a post-human reality in their recent work, New Maps of Hyperspace_Test_01.

Remote Access parties and Levani’s 127.1 BPM represent new, expansive ideas of the commons where queer, trans, immigrant, and disabled communities have gathered, and will gather, transgressively.

Ruben Ulises Rodriguez Montoya is an art- and myth-maker whose work distorts the imaginary lines that exist on land between states. His chimeric “lil beings,” as he calls them, are reconfigurations of found, personal, and organic materials, which he animates with allegories of displacement, inspired by ancient Mesoamerican myth and folklore.

Fanny Singer sheds historical light on contemporary art practices using food sourcing, making, and eating as platforms for social engagement.

Charting the historical, cultural, and scientific resonances of milk, the exhibition draws connections between protection and power. Across the works, milk closes the space between bodies. It destabilizes those things we typically consider natural, and it asks who gets to participate in the fantasy of motherhood.

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

On fear, inhibition, and “freedom.”