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Lauren Tate Baeza and Vitshois Mwilambwe Bondo talk about particularities of how a continent-wide trend of community-centered and para-institutional arts organizing unfolds in his hometown of Kinshasa; his personal journey from artist to administrator; and his own organization, Kin ArtStudio.

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.

Ge Yulu’s artistic practice playfully pulls at the strings of a social system that, although seemingly all-encompassing, is in fact a malleable structure consisting of individual human beings.

Jemma Desai’s essay “What do we want from each other after we have told our stories,” whispers abolition and points to the question: What if we say no?

On fear, inhibition, and “freedom.”

Aaron Gemmill has spent years photographing the proliferation of luxury condominiums, mostly in Brooklyn, NY. His project is a selection of these photos (which Gemmill originally posted to Instagram under the hashtag “#condoreport) and his prints of the Plexiglas windowpanes used to give passersby a glimpse into construction sites.

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.

Celestia Morgan, a conceptual photographer and sculptor living in Birmingham, AL, captures systems of inequality and justice.

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’?”