María Laura Rosa on how Alicia D’Amico’s images of female desire reflect “dissident and destabilizing identities in the heteronormative visual imaginary.” (In English and Spanish.)
Duygu Demir reviews The Political Aesthetics of the Armenian Avant-Garde: The Journey of the “Painterly-Real,” 1987–2004.
This roundtable conversation among Iranian gallerists, available in English and in Persian, explores the politics and particularities of gallery ownership in Tehran.
Sophia Powers reviews the 2018 exhibition India/Contemporary Photographic and New Media Art, and its accompanying catalogue by the same name.
The collective BFAMFAPhD presents the Making and Being Card Game, a pedagogical tool created for Art Journal Open that encourages students to approach their projects holistically, looking at their own learning goals and the life and death of their projects in relation to their social and emotional needs.
Stephanie Sparling Williams reviews Uri McMillan’s Embodied Avatars: Genealogies of Black Feminist Art and Performance, and Malik Gaines’s Black Performance on the Outskirts of the Left: A History of the Impossible.
Gail Hastings executes a close formal reading of Donald Judd’s sculpture Untitled (DSS 33), as well as the “unity that Judd’s space champions in us.”
Walker Downey explores sound—and the various societal, artistic, and militaristic attempts to eliminate it—through the work of Doug Wheeler, in particular his 2017 exhibition PSAD Synthetic Desert III at the Guggenheim Museum.
Dominic Johnson reviews Long Suffering: American Endurance Art as Prophetic Witness by Karen Gonzalez Rice.
As the latest addition to the Afrotropes series, Krista Thompson reflects on the extensive photographic and cultural legacy of Ivanhoe “Rhygin” Martin and the circulation of images in Jamaica and beyond.
In a new essay, Melissa Warak reviews Portraits of Courage: A Commander in Chief’s Tribute to America’s Warriors, an exhibition of the paintings of George W. Bush.
Sarah Kanouse, Jeremy Liu, Catherine Morris, and Mimi Thi Nguyen seek 500-word responses from communities of art-making, scholarship, and exhibition practice regarding public funding for the arts in an environment of heightened scarcity and competitiveness.
Scholar Suzaan Boettger traces the generative interplay between science-fiction author Brian Aldiss’s novel Earthworks and the Land art practice of Robert Smithson.
Caitlin Masley-Charlet sits down with artist Elisabeth Smolarz to discuss Smolarz’s recent residencies and projects, and the importance of failure, artistic community, and cross-pollination between practitioners.
Geeta Kapur puts forth a thirteen-part text, “Proposition Avant-Garde: A View from the South,” with critical responses by Saloni Mathur and Rachel Weiss.
Zach Kaiser presents his app CitationBomb, as well as his theory and practice of scrambling and hacking the contemporary metrics of academic success. In “overflowing the commodity market for citations,” Kaiser questions the value systems we assign to knowledge production and consumption.
The 2017 film Through the Repellent Fence looks at Postcommodity’s practice and its relation to and divergences from Land art traditions. Emily Eliza Scott explores the film and the role of art along the US-Mexico border.