Issue

ANDREW LO, O'Hare's Creek, 2000, rice paper, traditional and synthetic inks and pigments,

Andrew Lo

VIVAN SUNDARAM, Retake of 'Amrita', 2001, digital photomontage, black-and-white photograph, based on photographs by Umrao Singh Sher-Gil (1870-1954) and the Sher-Gil Family Archive

Vivan Sundaram

Shanghai: 10th Shanghai Biennale

PIO ABAD, My dear, there are always people who are just a little faster, more brilliant, and more aggressive II, 2016, acid dye print on hand stitched silk twill, 120 × 120 cm. Cou

New Emperors, Old Clothes

Cover art of Boredoms’ 2007 album Super Roots 9. Courtesy EYヨ.

ONE ON ONE: Teppei Kaneuji on EYヨ

Central Wellington and its harbor. Photo by Ulrich Lange.

DISPATCH: Wellington

Illustration by Coney Leung.

THE POINT: Not at Home in the World

Installation view of the section titled “Transformation” in the exhibition “Everywhen: The Eternal Present in Indigenous Art from Australia” at Harvard Art Museums, Cambridge, 2016

A Separate Piece

Participants of March Meeting 2016’s first panel discussion, “Engagement and the Responsive Institution”: (from left to right) Anna Cutler (Director of Learning, Tate, UK), Sheikha

Rising Above

Portrait of Chiharu Shiota. Courtesy the artist.

Chiharu Shiota

Portrait of Pallavi Paul. Photo by Tenzing Lekmon. Courtesy Khoj International Artists Association, New Delhi.

Pallavi Paul

THE CLOSET (detail), 1997/2015, mixed-media installation, dimensions variable, installed at Salt Galata, Istanbul, 2015. Photo by Ali Erdemci.Unless stated otherwise, all images co

Hale Tenger: Tragedy and Farce

Composite of floor plans mapping the exhibition “Dies Irae / A theater in the public spaces in the city,” in Iwaki, 2015. Courtesy Chaos*Lounge.Unless stated otherwise, all images

After the Quake

Detail of the wallpaper from the exhibition “Dazzler” at former artist-run space The Duchy for the 2012 Glasgow International Festival of Visual Art. Photo by Alan Dimmick.Unless s

Pio Abad: Powerful Stuff