Issue

Portrait of <b>TAMMY NGUYEN</b>. Photo by Annie Ling.

One to Watch: Tammy Nguyen

City Reports: After the Aftermath

Installation view of <b>ARCHIE MOORE</b>'s

Naarm/Melbourne: There and Back Again

Photo documentation of <b>DUMB TYPE</b>’s <i>Voyage</i>, 2002, performance: 68 min, in Toulouse, 2002. Photo by Kazuo Fukunaga. All images copyright the artists and courtesy The Ja

Tokyo: An Interview with Yoko Takatani of Dumb Type

<b>JOYCE HO</b>, <i>DOTS</i>, 2021, still from single-channel video: 1 hr 36 min. Courtesy the artist and the National Taiwan Museum of Fine Arts, Taichung.

Taipei: Rooting, Grounding, and Centering

Installation view of <b>KARRABING FILM COLLECTIVE</b>'s <i>The Jealous One</i>, 2017, single-channel video with sound and color: 29 min 29 sec, at

Shanghai: Conflicting Cycles

Installation view of <b>PIO ABAD</b>'s<i> The Collection of Jane Ryan & William Saunders</i>, 2014, 40 giclee prints on semigloss paper, mounted on Dibond, dimensions variable, at

Manila: An Interview with Pio Abad

Installation view of <b>SHARON LEE</b>'s <i>If Tomorrow Never Comes</i>, 2021-22, double-layered mounted inkjet print on paper, lightbox, and single channel video, each 160 x 160 c

Hong Kong: An Interview with Sharon Lee

The Ismail Marzuki Park Plaza in Jakarta with a mural depicting the late painter Raden Saleh. Image via Wikimedia Commons.

Jakarta: Decentralized Dilemma

<b>CHANG YOONG CHIA</b>'s <i>Battle</i>, 2022, batik sarong (Remazol dye on viscose cloth), 116 x 188 cm. Photo by dinndiran. Courtesy the artist and Teoh Wing Wah.

Kuala Lumpur: With Feelers Out

Installation view of <b>MUNEM WASIF</b>'s

Dhaka: An Interview with Munem Wasif

<b>RASHID RANA</b>'s <i>IT LIES BEYOND</i>, 2022, augmented reality and inkjet print on vinyl site-specific installation, 4.7 x 7.8 x 42.1 m, at the 3rd Karachi Biennale. Copyright

Karachi & Lahore: Resolute Resilience

Installation view of <b>AKI SASAMOTO</b>'s <i>Sink or Float</i>, 2022, mixed-media installation, dimensions variable, at

New York: An Interview with Aki Sasamoto

<b>SAJJAD ABBAS</b>,<i> I Can See You</i>, 2013, print image with Arabic words on each side in stencil, 5 x 9 m. Courtesy the artist.

Festivals of 2022: Looking Beyond Repair