Writing X-TRA: Black Mirrors: Hammons, Wilson, and Julien on Capital in the Art MarketGalia Linn: Beauty Queen, Heartbreaker, High Maintenance at Track 16Kal Spelletich: Significance Machines and Purposeful Robots at St. Mary's College Museum of ArtOccupying Negative Space at Human Resources LAARTnews: Equity and Inclusion for All? Curator Anuradha Vikram Chronicles Her Path Through L.A.’s Diversifying Art ScenePaper Monument: As Radical, As Mother, As Salad, As Shelter: What Should Art Institutions Do Now?X-TRA: Underneath the Black Atlantic: Race and Capital in John Akomfrah’s Vertigo Sea The Brooklyn Rail: The Impossibility of Existing in Los Angeles X-TRA: Phenomenology of a Cyborg: Biological and Technical Systems in the Art of Juan Downey X-TRA: Nam June Paik's Futuristic Compassion Art Practical article archive X-TRA: “Naked in the Sight of the Object”: Masking, Masquerade, and Black Identity X-TRA: The Art of Anthropophagy DAILY SERVING "Hashtags" column archive Afterimage: A Brief and Incomplete History of Art and Technology Ventures in the Bay Area 1980–2010 Chitra Ganesh: Pop Apocalypse Sonya Rapoport: A Woman's Place is in the Studio INDIA: Hema Upadhyay - The Aesthetics of Delight and Horror Hyperallergic: Memories of China: Yang Fudong's Nostalgic Disillusionment Artillery: On the Fringes: Julio César Morales DAILY SERVING: Lick 'Em by Smiling: Jeremy Deller and Shary Boyle at the Venice Biennale LEONARDO: Experimental Interaction Unit: Commodities of Mass Destruction Afterimage: Art of Peaceful Protest Hyperallergic: The Real Reason(s) Indians are Obsessed with Switzerland Amerasian Symphony (Tumblr) Odalisque Unchained (Tumblr) OPEN SPACE: The SFMOMA Blog (Column)
