In This Issue
Rebecca M. Brown, Disruption and Disorientation, 7
Features
Nazar Kozak, Art Embedded into Protest: Staging the Ukrainian Maidan, 8
Sherry Buckberrough, Color, Gender, Murder: Delaunay’s Political Drama, 48
Sophie Landres, Indecent and Uncanny: The Case against Charlotte Moorman, 48
Forum: The Politics of Legacy
Rachel Middleman and Anne Monahan, Introduction: The Politics of Legacy, 70
Artist’s Project
Amy Zion and Peter Broda, Martin Wong’s Jackets: Estate as Process, 75
Danh Vo, I M U U R 2, 81
Conversations and Perspectives
Katherine Jentleson and Jane Kallir, From Gallery to Greeting Card: Copyrighting Grandma Moses, 90
Diane Radycki, “What to Do with All the Stuff?” A Conversation between Mrs. Sidney Tillim and the Joan Mitchell Foundation (and the Artists Betty Blayton-Taylor and Jaime Davidovich), 95
Anne Monahan, Flavin Judd, and Rainer Judd, Clear Priorities: Flavin and Rainer Judd on the Judd Foundation, 101
Rachel Middleman and Mira Friedlaender, Touching Things: Mira Friedlaender Unpacks Her Mother’s Legacy, 110
Rachel Middleman and Alla Efimova, Preserving Artists’ Estates: A Professional Perspective, 116
Marcia Reed, From the Archive to Art History, 121
Artist’s Project
Mimi Gross, Puzzling the Legacy, 129
Position Papers
Caroline A. Jones, The Artist-Function and Posthumous Art History, 139
Nancy J. Troy, Copyright as Monopoly, 150
Michael Corris, Immortality Sucks! How the Estate of the Artist Writes History, 158
Renato González Mello, When the State Is the Estate: Copyright and Patrimony in Mexico, 170
Aya Louisa McDonald, The Artist’s Widow Syndrome East and West: The Case of Foujita Kimiyo, 177
Jacqueline Francis, Response to the Forum “The Politics of Legacy”, 189
Artist’s Project
Jill Magid, The Proposal, 194
Reviews
Mechtild Widrich on Sabine Breitwieser, ed., Carolee Schneemann: Kinetic Painting, the exhibition Carolee Schneemann: Kinetic Painting, and Kenneth White, Carolee Schneemann, and Duncan McCorquodale, eds., Carolee Schneemann: Unforgivable; Harper Montgomery on Mónica Amor, Theories of the Nonobject: Argentina, Brazil, Venezuela 1944–1969, Irene V. Small, Hélio Oiticica: Folding the Frame, and Elena Shtromberg, Art Systems: Brazil and the 1970s; and Catherine Damman on Meredith Morse Soft Is Fast: Simone Forti in the 1960s and After