What is our future and whose voices will announce it? Museum director, curator, and writer Zdenka Badovinac argues that it is the situated voices of people, artworks, and exhibitions, rooted in the local, that can bring incisive, productive change. The call of these voices, in rethinking art, curation, and institutions, is the subject of this powerful essay.

In this book, the renowned art historian and writer maps the institutional and quasi-institutional framework for contemporary art that sprawls across the globe. He then delves into a powerful form of curatorial activism rising up in the exhibitionary complex: Open Strike.

Yannis Tsarouchis was a Greek painter whose multifarious practice spanned seven decades, from the 1920s to the 1980s. More than three decades after his death in 1989, the artist’s immensely rich oeuvre is relatively unknown outside of Greece, where he is unanimously recognized as one of the most important painters of the twentieth century.

With the global rise of a politics of shock driven by authoritarian regimes that subvert the rule of law and civil liberties, what paths to resistance, sanctuary, and change can cultural institutions offer? In this book, more than twenty leading curators and thinkers about contemporary art present powerful case studies, historical analyses, and theoretical perspectives that address the dynamics of activism, protest, and advocacy.

This publication collects writings on the art scene of Kosovo over the past twenty years. In the 1990s Kosovars felt the urgency to shape their own scene: in a search for identity, for nation building, in continuing or ending political conflicts, by trying to find a language to grasp recent social and political developments, or simply by continuing their practice in new, unstable times.

Published in conjunction with Flaka Haliti’s solo presentation conceived for the Kosovo Pavilion at the 56th Venice Biennale, this book continues the artist’s invitation to encounter a visual field in which territorial boundaries are referenced and mediated by the sensory. Through the use of a saturated blue color altered by light and demarcated by architectural forms, the installation at the Venice Biennale reflects on the salient concept of the border.

Too Much World gathers a series of essays and close readings of Steyerl’s films from the past ten years. Newly commissioned texts by Sven Lütticken, Karen Archey, Ana Teixeira Pinto, and Nick Aikens, alongside writings by Thomas Elsaesser, Pablo Lafuente, David Riff, and Steyerl, are spliced with over one hundred pages of color stills.