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Benjamin Verheijden
Melissa Cody Weaves Interdimensional Planes
ART/ICLES
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Seeing Red with Li Hei Di
The Index
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Institutional and Gallery Exhibitions on in Venice during the Biennale
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Artist Eva Gold on Destabilising Truth
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Who is Stephanie Comilang? The Artist Exploring Labour and Transition in a Globalised World
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Sex Out of This World: Science Fiction, Fantasy and the Erotic at Project Native Informant
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Trophy Lives: Philippa Snow and Ruby Dickson Make an Art of Celebrity Culture
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Tracing History’s Footsteps: Tammy Nguyen’s A Comedy for Mortals: Purgatorio at Lehmann Maupin, Cromwell Place
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No Doormat: The Anatomical Venus Made From Carpet Yarn
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The Top 5 Booths at MiArt 2024
The Index
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Marie Watt on the Art of Storytelling and Collaboration
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Wilmer Wilson IV Locates Staples and Wood As Sites of Being and Communication
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Nehemiah Cisneros is LA’s Next Generational Painter
The Index
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How To Become A Dealer: Hannah Traore
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Claire Barrow’s Scare-Ride Down the Tombstone Freeway
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Reclaiming the True Purpose of Zombies: Guardians Predating White Zombie Appropriation
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Exteriors: An Ode to Annie Ernaux and the Everyday Encounter
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For Collective Ending’s Billy Fraser, It Is Time for the Art World to Talk About Privilege
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Matt Connors Cured my Referential Mania
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Discovering the Artistic Wonderland of Peju Alatise
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How Absence Made Lisa Selby See Differently
Confessions with Emily Pope
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Traversing Demonic Grounds: In Ode to Rhea Dillon’s Quiet Feminism
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Will the Apocalypse be Televised? – Eric White and Barbara Kruger Explore ‘Cursed Media’
Fresh Take
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What Kaye Donachie Kept for Herself
ART/ICLES
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