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Letter from the Editors

The urban landscape can be seen as a transcription of a city’s history. In St. Louis, the construction and destruction of brick buildings reveal a racialized history of segregation and inequality.

Teddy Cruz and Fonna Forman’s many co-extensive projects merge activist praxis, intellectual and skill exchange, horizontalist planning, and creative production to examine and change the way that borders, and the communities around them, are conceived of and function.

French philosopher Jean-Pierre Dupuy writes: “If we destroy nature is it because we hate nature? Of course not—we merely hate one another.”
He may well be right.

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.

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.

In 2021 D’Souza and Staal came together to stage the Court for Intergenerational Climate Crimes (CICC) at Framer Framed in Amsterdam. Described as “a more-than-human tribunal to prosecute intergenerational climate crimes” committed by Unilever, ING, Airbus, and the Dutch state, the court drew from D’Souza’s book What’s Wrong With Rights? Social Movements, Law and Liberal Imaginations.

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

Daniel Keller in conversation with Femke Herregraven.

“I can’t stand art actually. I’ve never, ever liked art, ever.”

Eric Bookhardt reports on the New Orleans art scene after Katrina, and discusses its resurgent militancy.

No one could remember a time when wages for work in the arts met the cost of living in an American city.