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Ecovisions: The Artists Surrendering to Nature as a Tool for Survival

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The Memphis Group: Joyous Genius or Tragically Tacky?

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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, Set Stage Screen project, avatar

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

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Huma Bhabha’s Sculpture Is the Monument We All Need

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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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Herman bas Dinner Hour at the Little Shop of Horrors, 2020

Hernan Bas’ Fantastical Worlds Hum with Youthful Angst  

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Penny Slinger, Clues to the Stigmata, 1969

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, full page illustration for Elephant's Euphoria issue

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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