Issue

MA YONGFENG, Invest in Contradiction, 2012, part of “Social Sensibility Research and Development Program,” graffiti preparation at Bernard Controls factory, Beijing, 2012. Courtesy

Useless Work, Useful Toil

LANG JINGSHAN, Pavilion In Fairyland, 1949, gelatin silver print, 34 x 26 cm. Courtesy Hanart TZ Gallery, Hong Kong.

Building a Legacy

EI ARAKAWA, installation detail of “I Am an Employee of UNITED Vol. 2.” at Overduin and Kite, Los Angeles, 2012. Courtesy Overduin & Co., Los Angeles.

Ei Arakawa: Pacific Peripheries

MAHMOUD OBAIDI, Confusionism Swords (detail), 2013, steel and wood, 100 x 105 x 30 cm. Courtesy the artist.

Mahmoud Obaidi: The Satirical Agent

LIN TIANMIAO, Badges (detail), 2009, white silk satin, colored silk threads, gold embroidery frames made of stainless steel, sound, dimensions variable. Courtesy the artist and the

Gene Sherman: Rebel With a Cause

ANUP MATHEW THOMAS, Ambassadors (detail), 2007, archival ink-jet print on Hahnemuhle photo rag paper, 92 x 136 cm. Courtesy the artist.

Anup Mathew Thomas: Hereinafter

SHURBATI: FORTY YEARS ON, 1973–2013, wood and house paint, three pieces: 175 x 70 x 17 cm each. Courtesy the artist and Sharjah Art Foundation.

Rasheed Araeen: A Man of History

NAVIN RAWANCHAIKUL’s House of Hope, 2013, with Khun Yai, Montien Boonma’s mother-in-law, at her home in Bangkok, 2013. Courtesy the artist.

Dearest Montien: A Tribute to Montien Boonma

INSIDE BURGER COLLECTION: What is Disappearing?

SLAVS AND TATARS, Molla Nasreddin the Antimodernist, 2012, fiberglass, steel, rubber and paint, 157 x 165 x 88 cm. Courtesy the artist and The Third Line, Dubai.

Baku: Love Me, Love Me Not

CHRISTINE STREULI, installation view of gradually_real (2014) at the 19th Biennale of Sydney, Cockatoo Island, 2014. Photo by Ben Symons. Courtesy the artist and Galerie Mark Mülle

Sydney: 19th Biennale of Sydney

TETSUYA ISHIDA, Meal Such as Fuel Supply, 1996, Acrylic paint on board, 145.6 x 206 cm. Courtesy Shizuoka Prefectural, Museum of Art, Shizuoka City.

Hiratsuka: Tetsuya Ishida

WANG TIANDE, Hou Shan No.14-HLST005 (detail), 2014, Rubbings, ink, Xuan paper, bast paper and burn marks, 36 x 211 cm. Courtesy the artist

Beijing: Wang Tiande

Installation view of Hou Chun-ming’s series “God Hates You” (1999) in “Ten Million Rooms of Yearning. Sex in Hong Kong” at Sheung Wan Civic Centre, Hong Kong, 2014. Photo by Wong K

Hong Kong: Ten Million Rooms of Yearning. Sex in Hong Kong