The Editors

HELEN GEIER, Shadow Fans, 1999, block print, sewn kardi, paper, silk, organza, 150 x 100 cm.

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Helen Geier

Kanchan Chander

Portrait of Yoshitomo Nara. Photo by Minami Tsukamoto. Courtesy Blum & Poe, Los Angeles/Tokyo.

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Yoshitomo Nara

Collette Chattopadhyay

ZHANG HUAN, My America, 1999 (details), performance and video, courtesy Deitch Projects, New York. Photograph Claire Garoutte.

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Zhang Huan

Jonathan Goodman

TADASHI KAWAMATA, Passarelle, 2000, timber installation and sketch of installation, dimensions variable.

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Tadashi Kawamata

Stephen Horne

SHAHZIA SIKANDER, Elusive Realities, 2000, triptych, acrylic on canvas, each 305 x 203 cm.

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Shahzia Sikander

Jonathan Goodman

Interior view of replica Korean house and BYRON KIM, Not Even One Spot of Shame,2000, acrylic, watercolour on Korean paper on screen.

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Korean American views: On exile, travel and unbelonging

Doryun Chong

TAKASHI HOMMA, Tokyo Suburbia, 1999, photographs, installation view.

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Turning to the everyday: Land/mind/body-scapes in Tokyo

Edan Corkill

YORK DER KNOEFEL, Ajax 2000,1999, video installation, Akihabara TV project, command N.

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In-between discourses: Alternative art spaces in Tokyo

Larissa Hjorth

MINEKO GRIMMER, Reflections, 1992, installation view, wood, pebbles, ice, courtesy Koplin Gallery, Los Angeles

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Shifting Perceptions: Contemporary LA Visions

Collette Chattopadhyay

EMILY KAME KNGWARREYE, Atnwelarr - Yam Dreaming, 1995, synthetic polymer paint on linen, 90 x 151 cm, courtesy Gallery Australis. © Emily Kame Kngwarreye, 1995/Permission of VISCOP

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A complex prism: Indigenous influences in Australian art

Ashley Carruthers

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Text and subtext

Line Writing, 1994, six rows of red neon and Laotian script, 700 x 150 cm, collection Irish Museum of Modern Art, Dublin. © Stephen Friedman Gallery, London.

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Vong Phaophanit

Claire Oboussier

JOSE LEGASPI, Greed, 1997, pastel on paper, 92 x 61 cm.

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Eating their words : A Filipino Narrative

Ana P. Labrador

KATE BEYNON, Li Ji Warrior Girl, 2000 (details), animated video.

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warrior girl: Kate Beynon’s tussle with language

Stuart Koop

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