Pamela N. Corey reviews an anthology of the work of art historian and critic T. K. Sabapathy.
Anneka Lenssen reviews two recent books on photography in Lebanon.
Edith A. G. Wolfe on two recent studies of “discrepant modernities” in Latin America
Duygu Demir reviews The Political Aesthetics of the Armenian Avant-Garde: The Journey of the “Painterly-Real,” 1987–2004.
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.
Dominic Johnson reviews Long Suffering: American Endurance Art as Prophetic Witness by Karen Gonzalez Rice.
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.
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.
Andrew Yang shares a “transdisciplinary cluster” of works that engage the concept of the Anthropocene. When it comes to climate change, Yang asks, “Which we is responsible, or most at risk? What sorts of people, organisms, and entities does we invite or exclude?”
By Camila Maroja
Camila Maroja reviews the exhibition and catalogue, Hélio Oiticica: To Organize Delirium.
By Charissa Terranova
Charissa Terranova discusses the exhibition and catalogue, Conceptual Art in Britain 1964–1979, which was on view at the Tate Britain from April 12–August 29, 2016.