- Valences of Dystopias: An interview with artist, writer and filmmaker Bahar Noorizadeh
- An Interview with Manuel Cirauqui
- Nigerian Modernism Arrives in London
- Abigail Reynolds: Walking A Cappella
- On the Necessity of Art Against Censorship and Resignation: ‘we refuse_d’ at Mathaf in Doha (31 October 2025 – 9 February 2026)
- An Interview with Osei Bonsu
- BOOK REVIEW: ‘UnMyth: Works and Worlds of Mithu Sen’
- ‘MONUMENTS’ at The Geffen Contemporary at MOCA and The Brick, Los Angeles
- ‘The Land Sings Back’ at Drawing Room, London
- ‘Les Rencontres d’Arles 2025’ meets with the Global South
- ‘All Directions’, the Fenix Museum, Rotterdam
- With a disco ball in hand: 12 hours to dismantle the master’s house – The Ignorant Art School’s Sit-in #4: 12 Hour Acting Up
- Strangers Everywhere or Apocalypse is Always Now: Notes from the 60th Venice Biennial
- Michelle Williams Gamaker: Live in Analysis – ‘Strange Evidence’ with Anouchka Grose at Matt’s Gallery, London, 4 July 2025
- An Interview with Ibrahim Mahama
- Ioana Leca, Artistic Director of the Göteborg International Biennial for Contemporary Art (GIBCA), in conversation with Jelena Sofronijevic
- ‘Only Your Name’: On Loss and Longing for Vietnam
- ‘Electric Dreams: Art and Technology before the Internet’, Tate Modern, London, 28 November 2024 – 1 June 2025
- BOOK REVIEW: ‘How Secular is Art? On the Politics of Art, History, and Religion in South Asia’, edited by Tapati Guha-Thakurta and Vazira Zamindar
- Building or Undoing Worlds? ‘Janiva Ellis: Fear Corroded Ape’ at the Carpenter Center for the Visual Arts, Harvard University, 31 January – 6 April 2025
- ‘Ruth Asawa: Retrospective’ at San Francisco’s MOMA, 5 April – 2 September 2025
- ‘Sharjah Biennial 16: to carry’
- ‘uMoya: The Sacred Return of Lost Things’: The Liverpool Biennial, 10 June – 17 September 2023
- Iron Souths? – A report on the ‘Iron Curtains or Artistic Gates? Communism and Cultural Diplomacy in the Global South’ workshop in Vienna, September 2024
- ‘The Only Door I Can Open: Women Exposing Prison Through Art’ at the Yerba Buena Center for the Arts, San Francisco
- ‘All We Imagine as Light’ as Existentialist Feminist Art
- ‘Nurture Gaia’: The Bangkok Art Biennale 2024
- ‘Noah Davis’ at the Barbican, London
- Long-Distance Friendships: Exploring Black Narratives in Eastern European Art Exhibitions
- BOOK REVIEW: ‘Trevor Paglen: Adversarially Evolved Hallucinations’, edited by Anthony Downey (Research/Practice 04, Sternberg Press, 2024)
- The Angel of History at the Threshold – A Future Placed in the Past: Yael Bartana and Ersan Mondtag in ‘Thresholds’ in the German pavilion at the 2024 Venice Biennale
- ‘Pauline Curnier Jardin’ at Museum of Contemporary Art Kiasma, Helsinki, 11 October 2024 – 23 February 2025
- Ariella Aïsha Azoulay on ‘The Jewelers of the Ummah: A Potential History of the Jewish Muslim World’
- In-betweens: Mónica Alcázar-Duarte at Autograph
- An Interview with Pamela Phatsimo Sunstrum
- An Interview with Kenturah Davis
- ‘Revolutionary Romances? Globale Kunstgeschichten in der DDR’ (Revolutionary Romances? Global Art Histories in the GDR) at the Albertinum, Dresden
- On the Nature of Using and Reusing: An interview with Eliza Kentridge
- ‘Josh Kline: Climate Change’ at MOCA, Los Angeles
- Dismantling the Monuments: Artistic approaches in the making of ‘Luka dan Bisa Kubawa Berlari’
- Mischief and Mimicry: Phyllida Barlow
- An interview with Otobong Nkanga
- After Gaza, Reflecting on ‘Auschwitz: Not long ago. Not far away’ in Boston
- ‘Tavares Strachan: There Is Light Somewhere’ at London’s Hayward Gallery
- ‘Don’t Kiss and Tell’: The work of Maria Madeira in the Timor-Leste pavilion at the 2024 Venice Biennale
- What do we want from our entangled pasts? ‘Entangled Pasts, 1768–now: Art, Colonialism and Change’ at London’s Royal Academy
- BOOK REVIEW: ‘Mary Kelly’s Concentric Pedagogy: Selected Writings’, edited by Juli Carson (Bloomsbury, 2024)
- The Weirdness and Materialism of ‘Al Fitna Al Kubra’: ‘Muawiya’s Thread’ at 32Bis, Tunis
- BOOK REVIEW: Arnd Schneider, ‘Expanded Visions: A New Anthropology of the Moving Image’ (Routledge, 2021)
- ‘Sonya Clark: We Are Each Other’
- Interspecies Solidarities at the Carnival of Extinctions: The Non-Human Foreigner at the 60th Venice Biennial
- BOOK REVIEW: Noam Shoked, ‘In the Land of the Patriarchs: Design and Contestation in West Bank Settlements’ (University of Texas Press, 2023)
- A Resistant Gaze? ‘RE/SISTERS: A Lens on Gender and Ecology’ at London’s Barbican Art Gallery
- ‘A World in Common: Contemporary African Photography’ at Tate Modern
- Pedagogies of Transmission in ‘ ...But There Are New Suns’: The Ignorant Art School Sit-in #3 with The Otolith Group
- BOOK REVIEW: Janette Parris, ‘This Is Not A Memoir’ (Montez Press, 2023)
- ‘Pacita Abad’ at San Francisco Museum of Modern Art, 21 October 2023 – 28 January 2024
- ‘Revolutionary Romances: Transcultural Art Histories in the GDR – Prologue’ at the Albertinum, Dresden, 2022
- ‘Against Apartheid’ at KARST Contemporary Arts, Plymouth, 29 September – 2 December 2023
- BOOK REVIEW: Myron M Beasley, ‘Performance, Art, and Politics in the African Diaspora: Necropolitics and the Black Body’
- 40th EVA International: Ireland’s Biennial of Contemporary Art
- BOOK REVIEW: 'Shona Illingworth: Topologies of Air', edited by Anthony Downey (Sternberg Press and The Power Plant, 2022)
- Claiming Spaces for Justice: Art, Resistance and Finding One Another in Bogotá
- Life Is More Important Than Art
- Taking Visual Pleasure in Taking Cinematic Revenge: Michelle Williams Gamaker’s ‘Our Mountains are Painted On Glass’
- Richard Mosse’s 'Broken Spectre' (2018–2022)
- What happens if a contemporary artist places a jewellery shop inside a gallery? R.I.P. Germain: “Jesus Died For Us, We Will Die For Dudus!” at the ICA
- Life is the Institution: A Contingent View on Gender and Sexuality in Contemporary Macedonian Art
- Hangama Amiri’s ‘A Homage to Home’ at The Aldrich Contemporary Art Museum, and in the Sharjah Biennial
- BOOK REVIEW: Nicholas Gamso, 'Art after Liberalism', 2021
- ‘Harun Farocki: Consider Labour’, at Cooper Gallery, University of Dundee, 3 February – 1 April 2023
- Lana Locke’s ‘Relic Garden’ at Lungley Gallery, London, UK, 3 March – 15 April 2023
- Report on the Baltics: Three Exhibitions in Vilnius, Riga and Tallinn
- BOOK REVIEW: ‘Art and Solidarity Reader: Radical Actions, Politics and Friendships’
- ‘Soft and Weak Like Water’: The 14th Gwangju Biennale, 2023
- A Personal Response to Steve McQueen’s 'Grenfell'
- ‘2022 Title Match: IM Heung-soon vs Omer Fast “Cut!”’ at SeMA in Seoul
- United Colours of the UAAC: More on the Politics of Diversity in Canada
- Life is Art: An Interview with Leonhard Frank Duch
- Performing History: Jelili Atiku’s performances, Lubaina Himid’s and Kimathi Donkor’s 'Toussaint Louverture', Steve McQueen’s 'Carib’s Leap' and Yinka Shonibare’s 'Mr and Mrs Andrews'
- BOOK REVIEW: Serge Daney, ‘The Cinema House & the World: The Cahiers du Cinema Years 1962–1981’
- ‘We can’t be provincial about Venice’: An interview with Jane da Mosto
- ‘52 Artists: A Feminist Milestone’ at the Aldrich Contemporary Art Museum
- ‘Into View: Bernice Bing’ at the Asian Art Museum, San Francisco
- Through the Algorithm: Empire, Power and World-Making in Basel Abbas and Ruanne Abou-Rahme’s ‘If only this mountain between us could be ground to dust’ at the Art Institute Chicago
- Intimate Estrangements: ‘Bharti Kher: The Body is a Place’ at the Arnolfini
- BOOK REVIEW: Jacob Lund, ‘The Changing Constitution of the Present: Essays on the Work of Art in Times of Contemporaneity’
- Lumbung will Continue (Somewhere Else): Documenta Fifteen and the Fault Lines of Context and Translation
- British Art Show 9
- On and Off ‘Ĩ NDAFFA #’: An Extended Review of the 14th Dakar Biennale
- 2022 ↓
- Behind the Algorithm: Migration, Mexican Women and Digital Bias – Mónica Alcázar-Duarte’s ‘Second Nature’
- BOOK REVIEW: Banu Karaca, ‘The National Frame: Art and State Violence in Turkey and Germany’
- Fiona Tan: ‘With the Other Hand’
- Notes on the Palestine Poster Project Archive: Ecological Imaginaries, Iconographies, Nationalisms and Knowledge in Palestine and Israel, 1947–now
- Diversity and Decoloniality: The Canadian Art Establishment’s New Clothes
- Cathy Lu’s ‘Interior Garden’ at the Chinese Culture Center of San Francisco
- ‘In the Black Fantastic’: Afro-futurism Arrives at the Hayward Gallery
- On Caring Institutions, Safe Spaces and Collaborations beyond Exhibitions: An Interview with Robert Gabris
- Media Aesthetics of Collaborative Witnessing: Three Takes on ‘Three Doors – Forensic Architecture / Forensis, Initiative 19. Februar Hanau, Initiative in Gedenken an Oury Jalloh’ at Frankfurter Kunstverein
- Obituary: Marisa Rueda, 1941–2022
- The End Begins: A dialogue between Renan Porto and Julia Sauma, on the dialogue between Antonio Tarsis and Anderson Borba in ‘The End Begins at the Leaf’
- Sonia Boyce: Feeling Her Way at the Venice Biennale
- Clarissa Tossin: ‘Falling From Earth’
- The Collective Model: documenta fifteen
- Programmed Visions and Techno-Fossils: Heba Y Amin and Anthony Downey in conversation
- Reflections on Coleman Collins’s ‘Body Errata’ at Brief Histories, New York: Coleman Collins in conversation with Erik DeLuca
- Southern Atlas: Art Criticism in/out of Chile and Australia during the Pinochet Regime
- Jimmie Durham, ‘ “...very much like the Wild Irish”: Notes on a Process which has no end in sight’
- Jimmie Durham, ‘Those Dead Guys for a Hundred Years’
- The Many Faces of the Artist’s Studio – ‘A Century of the Artist’s Studio: 1920−2020’ at London’s Whitechapel Gallery
- BOOK REVIEW: ‘Critical Zones – The Science and Politics of Landing on Earth’, eds. Bruno Latour and Peter Wiebel
- Jimmie Durham, ‘A Certain Lack of Coherence’
- ‘Thought is Made in The Mouth’: Radical nonsense in pop, art, philosophy and art criticism
- Empowering Bare Lives: ‘Bordered Lives’ at the Austrian Association of Women Artists (VBKÖ), Vienna
- The Moral Stake of Gamification – On the ‘Black Swan: The Communes’ hackathon at KW Institute for Contemporary Art, Berlin, August 2021
- ‘Departures’ at the Migration Museum, London
- BOOK REVIEW: David Elliott, ‘Art & Trousers: Tradition and Modernity in Contemporary Asian Art’
- Jumping Out of the Trick Bag: Frank Bowling’s Lands of Many Waters at the Arnolfini
- Drawing From and With the Oceanic: Tania Kovats at Parafin, London
- BOOK REVIEW: Rachel Zolf, ‘No One’s Witness: A Monstrous Poetics’
- ‘Judy Baca: Memorias de Nuestra Tierra, a Retrospective’ at the Museum of Latin American Art, Long Beach, California
- ‘Remembering in Art’: Kristina Chan in Conversation
- Living through Archives: The socio-historical memories, multimedia methodologies and collaborative practice of Rita Keegan
- Decolonising Dance Movement Therapy: A Healing Practice Stuck between Coloniality and Nationalism in Sri Lanka
- BOOK REVIEW: ‘Feminism and Art in Postwar Italy: The Legacy of Carla Lonzi’, edited by Francesco Ventrella and Giovanna Zapperi
- BOOK REVIEW: ‘Don’t Follow the Wind’, edited by Nikolaus Hirsch and Jason Waite
- Moyra Davey’s ‘Index Cards’ (Fitzcarraldo Editions, 2020) and ‘I Confess’ (Dancing Foxes, Press 2020)
- Why do we need Aby Warburg today? Or, is image memory a bodily sensation?
- BOOK REVIEW: Susan Schuppli, ‘Material Witness: Media, Forensics, Evidence’
- Reflections on the Future and Past of Decolonisation: Africa and Latin America
- BOOK REVIEW: ‘Under the Skin: Feminist Art and Art Histories from the Middle East and North Africa Today’
- Weaving and Resistance in Hana Miletić’s ‘Patterns of Thrift’
- BOOK REVIEW: Alana Hunt, ‘Cups of nun chai’
- BOOK REVIEW: The Avant-Garde Museum
- BOOK REVIEW: Dan Hicks, ‘The Brutish Museums: The Benin Bronzes, Colonial Violence and Cultural Restitution’
- Manora Field Notes & Beyond: A conversation with Naiza Khan
- Cara Despain, ‘From Dust’: Viewing the American West through a Cold War Lens
- ‘MONOCULTURE: A Recent History’ at M HKA
- Yishay Garbasz, in conversation with Sarah Messerschmidt
- ‘Uncanny Valley: Being Human in the Age of AI’
- An Aesthetics of Prolepsis
- ‘Piercing Brightness’, by Shezad Dawood: Migration, Memory and Multiculturalism
- BOOK REVIEW: Deserting from the Culture Wars
- BOOK REVIEW: Saloni Mathur, ‘A Fragile Inheritance: Radical Stakes in Contemporary Indian Art’
- At their word: Forensic Architecture’s renouncement and re-announcement of police testimonies in the investigation into the killing of Mark Duggan
- BOOK REVIEW: Sam Bardaouil, ‘Surrealism in Egypt: Modernism and the Art and Liberty Group’
- A conversation with Mohamed Melehi
- Heritage is to Art as the Medium is to the Message: The Responsibility to Palestinian Tatreez
- ‘We’, A Global Community Suspended in Time and Space: A Study of İnci Eviner’s Work in the 2019 Venice Biennial
- Grab the Form: A Conversation with Hafiz Rancajale
- ‘A Matter of Liberation: Artwork from Prison Renaissance’
- The Colonial Spectre of Classicism: Reflections on ‘White Psyche’ at The Whitworth Gallery
- BOOK REVIEW: Engagement or Acquiescence? On ‘Critique in Practice: Renzo Martens’ Episode III: Enjoy Poverty’
- ‘Errata’ in retro-prospect
- Cameron Rowland, ‘3 & 4 Will. IV c. 73’
- Pushing against the roof of the world: ruangrupa’s prospects for documenta fifteen
- BOOK REVIEW: Tom Holert, ‘Knowledge Beside Itself: Contemporary Art’s Epistemic Politics’
- BOOK REVIEW: Laleh Khalili, ‘Sinews of War and Trade: Shipping and Capitalism in the Arabian Peninsula’
- Maria Thereza Alves’s ‘Recipes for Survival’
- To Don Duration: Lisl Ponger’s ‘The Master Narrative und Don Durito in 10 Chapters’
- BOOK REVIEW: Oliver Marchart, ‘Conflictual Aesthetics’
- Karol Radziszewski's ‘The Power of Secrets’
- The Method of Abjection in Mati Diop’s ‘Atlantics’
- How are the visual arts responding to the COVID-19 crisis?
- Art in Contemporary Afghanistan
- BOOK REVIEW: Kate Morris, ‘Shifting Grounds: Landscape in Contemporary Native American Art’
- Boring, Everyday Life in War Zones: A conversation with Jonathan Watkins
- ‘Luchita Hurtado: I Live I Die I Will be Reborn’
- Movements, Borders, Repression, Art: An interview with artist Zeyno Pekünlü, March 2020
- ‘Shoplifting from Woolworths and Other Acts of Material Disobedience’, an exhibition of work by Paula Chambers
- Images in Spite of All: ZouZou Group's film installation ‘– door open –’
- Kamal Boullata: For the Love of Jerusalem
- Paul O'Kane, ‘The Carnival of Popularity Part II: Towards a “mask-ocracy”’
- BOOK REVIEW: Ariella Aïsha Azoulay, ‘Potential History: Unlearning Imperialism’
- ‘Knotworm’: Pauline de Souza interviews Sam Keogh
- BOOK REVIEW: Vessela Nozharova, ‘Introduction to Bulgarian Contemporary Art 1982–2015’
- A Place for/in Place of Identity? A conversation with Larissa Sansour
- Danh Vo’s Exorcism of Vietnam
- BOOK REVIEW: Jessica L Horton, ‘Art for an Undivided Earth: The American Indian Movement Generation’
- In conversation with Adam Pendleton: What is Black Dada?
- Edward Chell: ‘Common Ground’
- BOOK REVIEW: Jonas Staal, ‘Propaganda Art in the 21st Century’
- The 2019 Istanbul Biennial
- The Aliveness of Moses Quiquine
- ‘Terror Nullius’ by Soda_Jerk
- Archive Matters: Fiona Tan at the Ludwig Museum
- Communicating Difficult Pasts: A Latvian initiative explores artistic research on historical trauma
- BOOK REVIEW: Translating the World into Being - A review of ‘At Home in the World: The Art and Life of Gulammohammed Sheikh’
- Visiting the Arabian Peninsula: A Brief Glimpse of Contemporary and Not-So-Contemporary Art and Culture in KSA, aka the Kingdom of Saudi Arabia
- [AR]T, Apple and Us
- BOOK REVIEW: David Burrows and Simon O’Sullivan, ‘Fictioning: The Myth-Functions of Contemporary Art and Philosophy’
- Art and Theory in an Anti-fascist Year: An Interview with Kuba Szreder
- Paul O’Kane, ‘The Carnival of Popularity’
- BOOK REVIEW: Nora Sternfeld, ‘Das radikaldemokratische Museum’
- The 2019 Whitney Biennial
- ‘Passage to Asylum: The Journey of a Million Refugees’ – Dilpreet Bhullar in conversation with Kalyani Nedungadi and Maya Gupta
- On Brexit in Vienna: Mirroring the Social Decay
- Forever Young: Juvenilia, Amateurism, and the Popular Past (or ‘Transvaluing Values in the Age of the Archive’)
- Captain Cook Reimagined from the British Museum’s Point of View
- Okwui Enwezor: In Memoriam
- BOOK REVIEW: Chad Elias, ‘Posthumous Images: Contemporary Art and Memory Politics in Post-Civil War Lebanon’
- Arthur Jafa at the Berkeley Art Museum
- Repair, Ergonomics & Quantum Physics: Reflections on how Cairo’s contemporary art scene is reviving vanishing futures
- Vivan Sundaram: Disjunctures
- Rome Leads to All Roads: Power, Affection and Modernity in Alfonso Cuarón’s ‘Roma’
- Still Caught in the Acts: ‘Mating Birds Vol. 2’
- A Political Gemstone Kingdom of Natural–Cultural Feelings from Bucharest to Warsaw: Larisa Crunțeanu’s ‘Aria Mineralia’ exhibition
- INTERVIEW: The Politics of Shame – Ai Weiwei in conversation with Anthony Downey
- BOOK REVIEW: Renate Dohmen’s ‘Encounters Beyond the Gallery’
- Juliet Steyn reviews Juan Cruz’s ‘I don’t know what I’m doing but I’m trying very hard.’
- INTERVIEW: Mediating Social Media – Akram Zaatari in Conversation with Anthony Downey
- An Indigenous Intervention: Richard Bell’s Salon des Refusés at the 2019 Venice Biennale
- INTERVIEW: Sunil Shah, ‘Uganda Stories’
- Zarina’s ‘Dark Roads’: Exile, Statelessness and the Tenacity of Nostalgia
- BOOK REVIEW: ‘Fahrelnissa Zeid: Painter of Inner Worlds’ by Adila Laïdi-Hanieh
- BOOK REVIEW: Iain Chambers, ‘Postcolonial Interruptions, Unauthorised Modernities’
- The 2017 Venice Biennale and the Colonial Other
- BOOK REVIEW: David Kunzle, ‘CHESUCRISTO: The Fusion in Image and Word of Che Guevara and Jesus Christ’
- Longing for Heterotopia: ‘Silver Sehnsucht’ in Silvertown
- BOOK REVIEW: Future Imperfect: Contemporary Art Practices and Cultural Institutions in the Middle East
- Art as Anachronism
- INTERVIEW: John Akomfrah
- Steven Eastwood: ‘the interval and the instant’
- BOOK REVIEW: Open Systems Reader - Tomorrow is not Promised! edited by Gulsen Bal
- Paul O’Kane, ‘The Other Side of the Word: Translation as Migration in the Anthologised Writings of Lee Yil’
- ‘The Self-Evolving City’: Architecture and Urbanisation in Seoul
- The Folkestone Triennial 2017
- Sharjah Biennial 13 Offsite: Ramallah
- Theory of the Unfinished Building: On the Politico-Aesthetics of Construction in China
- BOOK REVIEW: Marcus Verhagen, ‘Flows and Counterflows: Globalisation in Contemporary Art’ (Sternberg Press, 2017)
- An Architecture of Memory
- Learning from documenta 14: Athens, Post-Democracy, and Decolonisation
- BOOK REVIEW: Joan Key, ‘Contemporary Korean Art: Tansaekhwa and the Urgency of Method’
- Kader Attia: Dispossession
- BOOK REVIEW: Zhuang Wubin, ‘Photography in Southeast Asia: A Survey’
- Spectral Anxieties of Postculture
- 'Exercises of Freedom': Documenta 14
- BOOK REVIEW: ‘Bloom’ (Horniman Museum and Gardens, 2015)
- Artes Mundi 7
- Post-Perspectival Art and Politics in Post-Brexit Britain: (Towards a Holistic Relativism)
- A Short History of Blasphemy
- BOOK REVIEW: Moulim El Aroussi, ‘Visual Arts in the Kingdom of Morocco’
- The Vicissitudes of Conduct
- South Korea’s Painful Past
- Return of the Condor Heroes and Other Narratives
- ‘The Savage Hits Back’ Revisited: Art and Global Contemporaneity in the Colonial Encounter
- The Unrepresentables
- From a Postconceptual to an Aporetic Conception of the Contemporary
- Christof Mascher: Memory Palace
- The 6th Marrakech Biennale, 2016: ‘Not New Now’
- The 2015 Venice Biennale
- BOOK REVIEW: Khadija von Zinnenburg Carroll, ‘Art in the Time of Colony’ (Ashgate, 2014)
- Brad Prager, After the Fact: The Holocaust in Twenty-First Century Documentary Film
- In Media Res: Heiner Goebbels, Aesthetics of Absence: Text on Theatre
- Failure as Art and Art History as Failure
- Restrictions Apply
- 13th Istanbul Biennial
- ‘Re: turn’: Bashir Makhoul
- Global Occupations of Art
- The Politics of Identity for Korean Women Artists Living in Britain
- Art Beyond Conflict
- David Craven’s Future Perfect
- Contemporary Art and the Politics of Ecology