Review

An overdue publication dedicated to the practice of the interdisciplinary artist, educator, and founder of El Museo del Barrio.

A young Japanese journalist shooting a televised travel program in Uzbekistan confronts her deepest fears and hidden aspirations.

In 1919, André Breton and Philippe Soupault were coming of age in the wake of World War I and the Spanish influenza pandemic.

Reissued for the first time after fifty years, the Black Unity Trio’s rare and explosive free jazz album Al-Fatihah still resonates with the sounds of solidarity amid a scene of intense political struggle.

Artavazd Pelechian’s Nature is not about the end of the world, but you could be forgiven for thinking otherwise.

TV shows and films about alternate dimensions or alien planets are only convincing when paired with sounds that also seem otherworldly.

A sleek but sensitive compendium of cultural production and politics three years in the making and spanning more than two decades.

At some point in the late ’70s, when Douglas Crimp and I were art history doctoral students at the Graduate Center, CUNY, he invited me to the ballet.

In the series of images, de Barros licks a typewriter’s keys, then its typebars, before becoming increasingly ensnared by the typewriter.

Poems told by a succubus with the thirst to die.

A prescient collection featuring the fifteen issues of the original bimonthly magazine from the 1970s.

Celebrating little-known stories of Black pride and resilience in London’s West Indian community.

On the murder of a performance artist set out to heal a war-torn world.

Art online during COVID-19.

A moving treatise on how to look closely and see truthfully while unearthing a family history in Taiwan.

In an American era of death and decline, where does Byrne see the path to utopia?

Examining the war of images in the current political landscape.

It’s rare for a short story to cause a ruckus, and Shirley Jackson’s “The Lottery” is one of the few exceptions.

“With my straight razor, I unmask the lie,” Rainald Goetz read at a literary prize competition in 1983. Then, Goetz picked up a blade and sliced open his forehead, nonchalant.

Tilda Swinton once said in an interview, referring to her collaborator Derek Jarman, director of Wittgenstein (1993): “He was the material of his own work.”