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Letter from the Editor

Will Corwin interviews Mark Thomas Gibson about Honoré Daumier’s influence on Gibson’s works of political satire, keeping momentum after a political win, and the challenges of building upon a broken foundation.

Who has the authority to witness and name corruption in another?

A personal essay on the artist’s navigation of the art world while disabled.

María Korol’s artist project traces the subtext of history and autobiography in her practice of layered obfuscation.

Miriam Simun’s text-and-image artist project meanders through the first month or so of quarantine, exploring the porousness of the body—the touching/not touching—and offers a kind of choreography of permeability.

An artist almost drowns, then reflects on Black Buoyancy, Hemingway, and Mami Wata.

John Akomfrah’s practice can be considered in relation to the problematics of monuments, and it is apt to do so at a time of widespread decommissioning of statues depicting individuals long celebrated for their roles in dominant narratives of human progress.

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.

An interview with artist Wendy Jacob about how her investigation of tactility brought her to work with communities of disabled people.

Investigating power structures through abstraction, becoming a student of oneself, and entropic systems.

Patricia Eunji Kim and Mashinka Firuntz Hakopian discuss monuments as physical evidence against cultural erasure, their role in preserving indigenous Armenian histories, and augmented reality as a site for activism and memorialization.