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

Christian’s essay and machado’s poem produce a dialogue that—in content and form—responds to the work of Felix Gonzalez-Torres. These interwoven texts can be read separately or as one dialogue in two voices.

On the limitations of institutional critique, and the transformative beauty of disability justice frameworks.

War Inna Babylon is not an exhibition; it is an everyday lived reality. Although we’ve exhibited some of the experience, I want people to feel it, feel like they have to do something, and [then] ask what we do next. To understand that you can’t sit on the fence, because if you do, you are supporting the status quo.

Khan—winner of the museum’s second annual UOVO prize, which is awarded to an emergent Brooklyn-based artist—moves through an array of media and materials, trying to capture the textured co-existence of multiple languages and influences.

TK Smith and Cosmo Whyte discuss colonial retentions, notions of home, and Whyte’s recent exhibition at MOCA GA.

In an extensive research project, Maxwell Paparella tracks the wave of museum unionizations in the US, which began in 2018 and collided with COVID-19.

Contributing editor Stephanie Bailey traces the lines of electrification to political power via Chilean artist Iván Navarro and the 38th EVA International in Ireland.

Europe’s museums turn to institutional rebrands and infusions of contemporary art to update their imperial-era collections —but are these efforts enough?

Sara Wintz, Carin Kuoni and Laura Raicovich discuss the impossibility of neutrality

We hope these archival texts provide history and context to current conversations, as well as an insightful glimpse into the thoughts of our predecessors from more than three decades ago.

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