Tiffany E. Barber on the darkly humorous world of performance artist Narcissister, whose play on race, gender, and sexuality challenges conventional conceptions of identity
Pamela N. Corey reviews an anthology of the work of art historian and critic T. K. Sabapathy.
Ellen Tani explores how an incidence of police brutality in the Harlem of 1964 is deployed in artworks by musician Steve Reich and visual artist Glenn Ligon.
Anneka Lenssen reviews two recent books on photography in Lebanon.
In the predigital era, an experiment in community-based virtual network building is launched in Los Angeles. Philip Glahn and Cary Levine uncover the activist collective Mobile Image’s project of 1984, Electronic Café.
Edith A. G. Wolfe on two recent studies of “discrepant modernities” in Latin America
C. C. McKee examines the materiality and significance of salt in Deborah Jack’s art practice and poetry.
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.
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.