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Sanford Biggers’s Blossom: On the Advantage and Disadvantage of Art for Life

Simon Cohen

Rúrí’s Rainbow I: The Burning of Being

Vala Schriefer

Humanizing the Machine: Selection and Synthesis in New Media

Nolan Kelly

Our Uncanny Digital Existence

Amanda Ba

Almost Human: Recent Interest in Puppetry and Doll-Making

Eddie Baker

Pierre Huyghe: “UUmwelt,” the space between humanity

Max Gruber

The Question Concerning Hyperaccumulation, Or, the Role of Technology in Mel Chin’s Revival Field

Sophie Loring

Review: Rachel Harrison, “Life Hack”

India Halsted

Deana Lawson’s Exalted Black Subjects

Nicole-Ann Lobo

Mandalas and Black Holes: The Effects of the Flicker Film on Human Consciousness

Jason Ooi

A Politics of Appearance

Saikeerthi Rachavelpula

In Which Humanness Rests

Oscar yi Hou

Lee Ufan and the Art of Margins

Allison Yoo

Interview: Cynthia Madansky

Alexandra Germer

Relational Possibilities Beyond the Horizon Line

Gianna Samms

Fibrous Depths: John Paul Morabito’s Woven “Frottage”

Anastatia Spicer

On the Chimeric Subject

Aaron Su

Friedel, Can You Hear Me?

Blakey Bessire

Interview: Susan M B Chen

Cornelia Smith

Sally Mann: A Thousand Crossings

Jonah Goldman-Kay

In Search of the Vacuous

Melanie Shi

Interview: Qinmin
Liu

Mary Ma

Bodies Dissolving Boundaries

Tina Shan

Locating Irony: Ragnar Kjartansson’s Blossoming Trees Performance

Elizabeth Keto

Activation as Freedom in Cosmococas

Lydia Mullins

Madder Movie: Anime and Moe in Contemporary Japan

Sebastian Choe

This is My Heart Please Don’t Use it Against Me

Ella Viscardi

A Morbid Platform

Eleonor Botoman

A Strange Exiled Body: Gamespace and (Anti) Algorithmic Choreographies

Alec Mapes-Frances

Rineke Dijkstra’s Portraits: The Aesthetics and Ethics of Digital Time

Elizabeth Keto

Interview: Alice Emily Baird

Nicole Kaack

Questioning the Digital as Egalitarian: Sondra Perry’s Lineage for a Multiple Monitor Workstation: Number One

Ella Coon

Rethinking the Relevance of Meat-Space: Post-Humanist Liberation?

Amelia Ames

Nolli’s Orders: Form Unlimited

Natalie Edwards

Stars, Cheese, Clouds, Watermelon and the Like: On Wolfgang Tillman’s Neue Welt and “PCR”

Anneliese Katherine Mesa-Jonassen

The Journal of Art Criticism

Founded at Barnard College in New York

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