Issue

JITISH KALLAT, Epilogue, 2011, Pigment print on archival paper, 753 prints: 31.7 x 39.4 cm each. Courtesy Nature Morte, New Delhi.

New Delhi: Jitish Kallat

MARIANA CASTILLO DEBALL, Hypothesis of a Tree, 2016, Bamboo structure, rubbings on Japanese paper and sumi ink, dimensions variable.Courtesy Sharjah Art Foundation.

Sharjah: Sharjah Biennial 13

SOPHIA AL-MARIA, Installation view of the exhibition “Everything Must Go” at The Third Line, Dubai, 2017. Courtesy the artist and The Third Line.

Dubai: Sophia al-Maria

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

MEHDI GHADYANLOO, Metamorphosis Lighting, 2015, Acrylic on canvas, 150 x 300 cm. Courtesy the artist and Howard Griffin Gallery, London.

London: Mehdi Ghadyanloo

AGUS SUWAGE, Kama Sutra II, 2016, Papier-mâché, gouache, watercolor and tobacco juice, 223 x 242 x 7 cm. Courtesy the artist and Tyler Rollins Fine Art, New York.

New York: Agus Suwage

KHOSROW HASSANZADEH, Terrorist: Khosrow, 2004, Acrylic and silkscreen ink on canvas, 250 x 205 cm.Copyright the artist. Courtesy Mohammed Afkhami Foundation.

Toronto: Rebel, Jester, Mystic, Poet: Contemporary Persians

(Left) REN HANG, Edited by Dian Hanson, Published by Taschen, Cologne, 2016. Softcover with color illustrations, 311 pages.(Right) RED FLOWER: THE WOMEN OF OKINAWA, By Mao Ishikawa

BOOK REVIEWS: Stripped Bare

Sahand Hesamiyan in his studio located in Khorramdasht Industrial Zone, Iran.

Sahand Hesamiyan

Zhao Tao

Zhao Tao

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