Issue

JAY CHUNG and Q TAKEKI MAEDA, Modus Tollens, 2003, C-print, 27.9 x 48.3 cm. Courtesy the artists, Galerie Isabella Bortolozzi, Berlin, and REDCAT Gallery, Los Angeles

Los Angeles: 10 Years of Jay and Q

NAOYA HATAKEYAMA, A BIRD/Blast #130 (detail), 2006, Chromogenic print, 20.3 cm x 25.4 cm. Copyright the artist. Courtesy Taka Ishii Gallery, Tokyo/Kyoto, and San Francisco Museum o

San Francisco: Naoya Hatakeyama

LINES OF CONTROL: PARTITION AS A PRODUCTIVE SPACE, Edited by Iftikhar Dadi and Hammad Nasar, Published by Green Cardamom, London, 2012.Softcover with color illustrations, 238 pages

BOOK REVIEWS: Mark(et)ing the Middle East

Stanley Wong in his Hong Kong studio. Behind him are two photographs from his “Lanwei” series (2006– ). Photo by Ann Woo for ArtAsiaPacific.

Stanley Wong

FINE PRINT: Freeports

QUESTIONNAIRE: MAP Office

Transnational Reflections

Aerial view of Tehran, 2012. Photo by Mohseen Shahmardi.

DISPATCH: Tehran

Illustration by OLIVER RAW

THE POINT: What Are We Waiting For?

RASHMI MUNIKEMPANNA, Somewhere in Delhi, India #53, one of a series of photographs of streetlamps in Delhi for the project “Come, See Where I Am From,” 2012. Courtesy the artist.

PERSPECTIVE: Performative Impulses

Installation view of “Theatre of the World” at Museum of Old and New Art, Tasmania, 2012. SIDNEY NOLAN’s Colonial Head—Kelly Gang (left), 1943–46, hangs alongside WIM DELVOYE’s Unt

CLOSE READ: Shock of The Old

GREG SEMU, Vic Taurewa Biddle, photograph from the “Battle of the Noble Savage” series, 2007. Copyright the artist and Musée Quai Branly, Paris.

IN DEPTH: Greg Semu

LANTIAN XIE and HALA ALI, Provision Initiative (Passport, Please), 2011, live video and performance installation at the Dubai International Finance Centre, Dubai, 2011. Courtesy th

IN DEPTH: Lantian Xie

SHINGO HONDA, No. 42, 1970, split log and hawser, 122 x 122 x 244 cm, installed at Tamura Gallery, Tokyo, 1970. Photograph by Shigeo Anzaï. Courtesy the artist and the Museum of Co

REFLECTION: What Isn’t Mono-ha?