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The 2025 Mississippi Invitational, curated by TK Smith and dubbed Call Home, opens with a title wall graphic that incorporates a landline phone dangling, as if abandoned by its user. The white handset—hanging loosely by an orange spiral cord, forever suspended somewhere between connection and disconnection, sets a quietly poignant tone for the exhibition. It also poses a question: Do you make the call?

Film critic Nathan Lee explores the insurrectional body in David Cronenberg’s “Crimes of the Future” and asks “What do we mean when we speak of the ‘Cronenbergian’?”

Garner’s practice represents the body as muscle, fat, sinew, and blood, which bespeak an extreme vulnerability and toe the line between beauty and vulgarity.

Blood corrupts conventions of purity and privacy to suggest all elements of the body can be used for expression.

Anyone who has ever been life-threateningly ill will know the desperation it breeds. You’ll try anything. You’ll do anything. And when treatments fail, and doctors—shockingly unskilled in empathy—shrug and suggest this means you will die, you start looking anywhere for help.

Each collaborative entity mobilizes its own kind of micro-performance, but together they maintain a coherence through the way we simultaneously apprehend them in the sensorium. As such, the materials feel less instrumentalized by aesthetics and more mysterious.

Japanese artists’ and cultural workers’ strategies for response to the Fukushima disaster.

On fear, inhibition, and “freedom.”