Issue

HH LIM, The Cage the Bench and the Luggage, 2011, Galvanized steel and aluminum suitcase with padlocks and chain, 484 x 216 x 228 cm.Courtesy the artist and MAXXI – National Museum

Rome: Please Come Back. The World as Prison?

IRI AND TOSHI MARUKI, Water (Panel III) , 1950–82, From “Hiroshima Panels” (series of 15 panels)India ink and Japanese paper, 180 x 720 cm.Courtesy Maruki Gallery For The Hiroshima

Munich: Postwar: Art between the Pacific and the Atlantic, 1945-1965

Image of the gravesite of FRIEDRICH NIETZSCHE in Röcken, Germany. Courtesy James T. Hong.

ONE ON ONE: James T. Hong on Friedrich Nietzsche

Portrait of Tuan Andrew Nguyen. Courtesy the artist.

Tuan Andrew Nguyen: The Progressive Director

Installation view of “Enchantment as Function: Revisiting Postmodernism” section, “Shifting Objectives: Design from the M+ Collection,” at M+ Pavilion, Hong Kong, 2016–17.Photo by

Hong Kong: Shifting Objectives: Design from the M+ Collection

*KISHIO SUGA*, _Fieldology_, 1974/2016, rope, dimensions variable. Courtesy the artist, Pirelli HangarBicocca, Milan, and Blum & Poe, Los Angeles/New York.

Milan: Kishio Suga, “Situations”

BAKH BAKH, 1985/2015, acrylic and fabric on canvas, 90 x 90 x 12 cm. Courtesy Estate of Hassan Sharif and Gallery Isabelle van den Eynde, Dubai.

Rebels with Causes

Letters & Corrections

DEEPAK UNNIKRISHNAN, Temporary People, 2017, Paperback anthology, 240 pages. Published by Restless Books, New York. Courtesy Lantian Xie.

ONE ON ONE: Lantian Xie on Deepak Unnikrishnan

Panoramic view of Tbilisi, Georgia. Photo by and copyright Georgios Giannopoulos.

DISPATCH: Tbilisi

Illustration by O Hezin.

THE POINT: Expanding the Vision for Arts Patronage

All illustrations by Marta Grossi, based on film stills from F is For Fake (1974) by Orson Welles.

F for Forensics

Portrait of Jaime C. Laya. Courtesy Manila Water Company, Inc., Quezon City.

Jaime C. Laya

Portrait of Agah Uğur. Photo by Yurttaş Tümer. Courtesy Agah Uğur.

Agah Uğur