Issue

ART THOMPSON, Nuu-chah-nulth Mask Representing Thunderbird in Human Form, 1989, red cedar, cedar bark, eagle feathers, horsehair, copper, leather, nylon twine, plywood, screws and

Faces from the past: First Nations masks of Canada

TETSUJI AONO, Trophy (Bear), 1998, ceramic, 18 x 25.5 x 20 cm, courtesy Richard Heller Gallery, Los Angeles.

Virtual daydreams: Three exhibitions of Asian Art in Los Angeles

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

Postcard from Pakistan

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

Crosscurrents: Indian, Norwegian and British artists in Oslo

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

Interdigitating Reihanamations: Lisa Reihana's Video Weavings

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

In praise of mad shadows : The Photography of Tokihiro Sato

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

Body and Soul: Pinaree Sanpitak’s art of life

What goes around comes around: The art of Guan Wei

What goes around comes around: The art of Guan Wei

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

Asian Comic Art

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

Conjuring the world: Ravinder Reddy's sculptural emblems

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

At home and abroad: Contemporary Filipino views

Yogyakarta rally for Megawati Sukarnoputri, 26 July 1998.

A Cultural Hothouse: A report from Indonesia

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

Subject of Desire: Taipei Biennial

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.

Manifold Echoes: A Transcultural Venture in Stuttgart