The Second Editor from Canada

Or, more specifically, from Québec. Sylvie Fortin arrived with a different perspective on international art and the place of an Atlanta-based magazine in it. The first issue under her exclusive editorial control featured a spectacular range of issues of political and gender identity from “Fatimah Tuggar’s Imag(in)ing of Contemporary Africa” through Tania Bruguera’s Cuba-themed intervention at Art Basel Miami Beach to the very different architectural perspectives of Arakawa and Gins in one feature story and Swedish artist Charlotte Gyllenhammer in a studio visit, perhaps linked to the notion of the “spaces between” in the studio visit with Athens, Georgia artist Ron Johnson. The next issue’s studio visits with Lorenzo de los Angeles in Queens, New York, Millie Chen in Ridgeway, Ontario, and Giuseppe Gabellone in Milan demonstrated the expansion of the magazine’s longstanding interest in art as a global practice, a focus reinforced by a feature essay on the economic of marketing contemporary Australian Aboriginal art. The year’s remaining issues presented conversations about larger artworld themes, including “Civil Disobedience as Art, Art as Civil Disobedience” and a two-part discussion of “Curating Now.” A studio visit with globally recognized Atlanta book artist Ruth Laxson served as a reminder that the city from which the magazine originated was by no means absent from the international artistic dialogue.