The Editors

IFTIKHAR DADI, Muslims are Meat Eaters, They Prefer Food Containing Salt. Hindus on the Other Hand Prefer a Sweet Taste, 1997, computer inkjet print mounted on back-lit box, 78 x 1

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Postcard from Pakistan

Alison Carroll

ANITA DUBE, Love's Labour Lost, 1996, installation, silver and enamel votive eyes, dimensions variable.Photograph Ann Christine Eek.

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Crosscurrents: Indian, Norwegian and British artists in Oslo

Mariann Komissar

LISA REIHANA, Tauira, 1993 (detail), video installation.

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Interdigitating Reihanamations: Lisa Reihana's Video Weavings

Maud Page

TOKIHIRO SATO, Photo-Respiration #87 Shibuya, 1990, 'Tokyo I' group, 20.3 x 25.4

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In praise of mad shadows : The Photography of Tokihiro Sato

Robert J. Fouser

PINAREE SANPITAK, The Egg, 1997, charcoal, acrylic and pastel on canvas, 200 x 210 cm, collection the artist.Photograph Aroon Peampoonsopon

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Body and Soul: Pinaree Sanpitak’s art of life

Dionissia Giakoumi

What goes around comes around: The art of Guan Wei

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What goes around comes around: The art of Guan Wei

Claire Roberts

ANTONIO VELASQUEZ, 1978, Assortment of Velasquez comics characters on a greeting card, the Philippines

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Asian Comic Art

John A. Lent

RAVINDER REDDY, Woman with Lotus Flower, 1998, painted, gold-gildedpolyester resin fibreglass, 219 x 150 x 86 cm, collection the artist.

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Conjuring the world: Ravinder Reddy's sculptural emblems

Kamala Kapoor

ANNA FER, India and Ilustrada, 1993, oil on canvas, 228.3 x 289.3 cm, courtesy Metropolitan Museum of Manila.

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At home and abroad: Contemporary Filipino views

Collette Chattopadhyay

Yogyakarta rally for Megawati Sukarnoputri, 26 July 1998.

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A Cultural Hothouse: A report from Indonesia

Julie Ewington

CAI GUOQIANG, Advertising Castle, 1998, bamboo, plastic, wire, mixed media, dimensions variable.

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Subject of Desire: Taipei Biennial

Wen-rwei Hsu

ANNIE WU, The Secret of the Cargo Cults, 1992, tempera on plaster paintings, wooden crates, dimensions variable, courtesy the artist and Galerie Angelika Harthan, Stuttgart.

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Manifold Echoes: A Transcultural Venture in Stuttgart

Victoria Hynes

YUTAKA SONE, Her 19th Foot in Shanghai, 1998, bicycles, video, dimensions variable.

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From Tokyo to Shanghai: Sur-Everyday-Life

Zhang Zhaohui

KEIJI KOBO, Chair Design, c. 1930s, specially designed for Japanese tatami mat rooms. The legs have a special board, a tatami zuri, that protects the tatami mat.

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A modern society: Modernism, Modernity and the Modern: Japanese Culture and Society in the 1920s and 1930s

Kathryn Hunyor

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