The Editors

SHEN JIAWEI, Tolerance, 1988, oil on canvas, 179 x 198 cm, collection Museum of Chinese Revolution, Beijing.

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my search for a Shaman

Nicholas Jose

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I ASK MYSELF, AM I CHINESE?

William Yang

TRACEY MOFFATT, Something More, 1989, series of 9 direct positive colour photographs and gelatin silver photographs, each 90 x 150 cm framed, National Gallery of Australia.

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See the woman with the red dress on . . . and on . . . and on . . .

Gael Newton

KELEOFA TEOFILO (Matua Tutolu), Headdress, plastic, 29 cm diameter, from the exhibition 'Te Whare Puanga', City Gallery, Wellington, New Zealand.

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Conference Report: The Under Capricorn conference in Wellington

Nicholas Thomas

SUPHACHAI SATSARA, outdoor installations at Nawarat Bridge, Chiang Mai, 1993. Photograph courtesy the artist.

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Festivals: Chiang Mai Art Festival

Chanyaporn Chanjaraen

MOELYONO, Pameran untuk Marsinah, 1993, installation view of the interrogation scene with the inggeh panels behind. Photograph Dadang Christanto.

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Exhibitions: Pameran Untuk Marsinah: The exhibition that never opened

Julie Ewington

ROVER THOMAS, Cyclone Tracy, 1991, natural pigments on canvas, 168 x 183 cm, National Gallery of Australia, Canberra.

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Exhibitions: Roads Cross: The Paintings of Rover Thomas

Sheona White

YAN HSIA, The Businessman, 1988, oil on canvas, 228 x 116 cm.

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Exhibitions: A Veil In Between: Taipei Report

Chia Chi Jason Wang

YOON SUK NAM, Mother – Her Son and Daughter, 1992, acrylic on wood, 170 x 180 cm. collection the artist.

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Exhibitions: Tried and True: Min Joong Art survey exhibition

Choi, Tae-Man

YUN SUK NAM, Genealogy, 1993, acrylic on wood and paper, 320 x 280 cm.

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Staging a Culture: Korean Art at Home and Abroad

Jae-ryung Roe

SOUN-GUI KIM, Dream of the Butterfly, 1992, images from video installation. Photographs Alan Cruickshank.

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The Emptiness of Emptiness Dream of the Butterfly

Soun-gui Kim

ROMULO GALICANO, Still Life, 1994, oil, 96.5 x 91.4 cm. Photograph Camarillo.

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South-East Asian Sense and Sensibility: The well-filled space, the well-cut silence

Rod Paras-Perez

ROBERTO VILLANUEVA, Panhumuko (Surrender to Nature), 1991, indoor installation, Lincoln Square Gallery, New York City.

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Does the Avant-Garde Begin or End in Asia?

Keith Looby

SIMRYN GILL, Heart of the Matter, 1994, (detail) cow dung, soap, agar agar, rubber, papier-mâché, gum resin, found objects.

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Annotated Singapore Diary: Censorship, performance, and the Latiff Mohidin retrospective

Ray Langenbach

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