Today, with the total availability and saturation of images, the museum has lost its privileged status as the exclusive place for the display of art. In our age of digital media, how is a particular artwork selected for a museum collection? Which symbolic criteria must this artwork satisfy for it to obtain value? And in what ways does the institution of the museum remain relevant?

As the true urgency of the environmental crises we face becomes clear, architecture requires fundamental reinvention. The assumption that the building industry can only fulfill humanity’s needs with the irreversible exploitation of the environment, of people, and of the future needs to be reconsidered.

During the Cold War, modernist art became a flagship of freedom and democracy in the West, and took on the role of a symbolic overcoming of fascism.

What happens when social scientists write about artworks? How does it affect the academic environment of a business school and how does it change the perception of art? Can it be used as a novel scientific method in the business studies?

What does the promise of “speaking nearby” rather than “speaking about” look like today? What are the politics of hospitality? What are the problematics of “postfeminism,” and how do we challenge the West as the authoritative subject of feminist knowledge? What are the ways that language can be a site of rupture? How do we generate mistrust in the “well-written,” and how can poetry be a radical act of refusal?

WONDERFLUX brings together a group of longtime contributors with graphic artists to collaborate on illustrated essays and develop a new pictorial language around some of the emergent consistencies and overarching issues that defined the first decade of e-flux journal.

Elizabeth Povinelli’s anthropology of the otherwise locates itself within forms of life that run counter to dominant modes of being under late settler liberalism. In these essays, she considers the emergence of new worlds and the extinguishment of old ones, seeking to develop a social imaginary that can sustain radical potentiality without turning a blind eye to our deep interdependence.

Oceans are a crucial in regulating the planet’s climate—a necessary condition to ensure human survival on earth. Findings of oceanography can help people living in the Anthropocene to better understand life (and survival).

Understanding microbiota alters and challenges our concepts of immunology, metabolism, and the relation between nutrition and mental health, and also helps us learn more about the pathogenesis of diseases, the development of which are associated with a lack of microbial diversity.

Geoengineering refers to the large-scale intervention into the earth’s natural systems—oceans, soils, and atmosphere—in an attempt to counter the adverse effects of climate change, be it through solar radiation management, carbon dioxide removal, and so forth.

Tell It to the Stones presents artistic and intellectual responses to Huillet and Straub’s filmmaking methods and body of work. The book is not only concerned with a general appreciation of Straub and Huillet’s cinema practice but also recognizes their substantial contributions to other arts and political thought.

The notion of the handmade has shifted from the margins to center stage. Craft’s value is increasingly recognized across creative, economic, social, cultural, and political contexts. Owing to dissolving disciplinary boundaries and the widespread appropriation of craft, its meaning is changing.

Unpayable Debt examines the relationship between coloniality, raciality, and global capital through a black feminist poethical framework. Inspired by Octavia E. Butler’s 1979 sci-fi novel Kindred, in which an African American writer is transported back in time to the antebellum South to save her owner-ancestor, Unpayable Debt relates the notion of value to coloniality—both economic and ethical.

This first comprehensive survey of Joseph Kosuth’s work with public media centers on his pioneering project The Second Investigation (1968–74). This indexical work takes the form of anonymous advertisements in media—newspapers, magazines, billboards, television—based on a taxonomy of the world developed in the early nineteenth century by Roget for use in his thesaurus. Marking the start of Kosuth’s sustained engagement with public media, this work anticipated the media orientation of New York postmodernism beginning in the late 1970s.