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The Anecdote
The Index
The Index
Ecovisions: The Artists Surrendering to Nature as a Tool for Survival
The Index
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The Memphis Group: Joyous Genius or Tragically Tacky?
The Index
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Untangling Identity Politics with Karachi-Born Nalini Malani and Huma Bhabha
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The Mary Wollstonecraft Statue Is a Betrayal of Feminism
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Koos Breen Doesn’t Care for the Distinction Between “Art” and “Design”
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These Are the Artists You Need to Watch
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When Nigerians Say #ENDSARS, We’re Not Just Speaking for Ourselves
The Index
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Huma Bhabha’s Sculpture Is the Monument We All Need
The Index
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Sexuality, Solace and Social Power in the Work of Billie Zangewa
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Steilneset Memorial, Norway: A Tribute to Those Executed for Witchcraft
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Anime Meets Folklore in the Dreamlike Work of Oda Iselin Sønderland
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Bosco Sodi’s Paintings Are Reminiscent of Extraterrestrial Topography
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Andy Holden’s Cartoon Ghost Train Questions the Art World’s Status Quo
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Tenant of Culture on Refashioning Old Clothes—and Herself
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This Exhibition Displays the Vibrancy of Contemporary African Painting
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A Communist Relic: This Lithuanian Museum Houses Soviet-Era Artworks
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Languid Hands: Curating Under White Supremacy
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Hernan Bas’ Fantastical Worlds Hum with Youthful Angst
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When Nothing is Certain, Can Collage Offer a Space for Contemplation?
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The Print Sale Raising Essential Funds in the Wake of the Beirut Explosion
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On the Cover: Lina Iris Viktor’s Expansive Image of Black History
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Elephant’s Brand-New Autumn Issue Asks: Who Needs Optimism?
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Derek Ercolano Illustrates the Euphoric Sounds of Acid House
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Derek Fordjour Uses Sport as the Perfect Allegory for Organised Society
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