Hope the Doors Collapse, the book, accompanied Luciana Lamothe's exhibition at the Argentine Pavilion at the 60th Venice Biennale.

This book is a kind of notebook, a record of the long process that led Untitled from paper to the large installation that the artist presented at the Museum of Modern Art of Buenos Aires in October 2017.

Local Futurisms and Extractive Pasts explores some of the works presented at THIS TOO, IS A MAP, the 12th Seoul Mediacity Biennale, and the way futurisms recover non-Western histories, materials and epistemologies, cosmologies and ontologies.

In this essay, stones, minerals and language travel together through their colonial and political histories. Dourron shows how the power structures of linguistics emerged in parallel with mineral classification, and how Western frameworks for both haunt current linguistic and rock relations.

Rather than an explanation, this text is an attempt to draw nearer to Joaquin’s paintings, a further insistence on getting to know them beyond what they wish to be known or, probably, beyond the limits of our own capabilities to know them.

Cuentos teddy bears, Ad Minoliti's exhibition at La Casa Encendida, revisits different classic versions of Little Red Riding Hood to transform the traditional story into a new narrative horizon that imagines other possible worlds.

This—the heart of the Foto Estudio Luisita archive—offers us an opportunity to blur the boundaries of the photography canon with its rigid limits between the commercial and the artistic, between institutions and the vast world that lives at their margins, an opportunity to delve into the images of the body

I want to propose a story about museums and collections that can bring us closer to Le Guin's theory of the handbag approach. One that takes us through the small and less visited alleys of museum history, where the Heroes never even arrived.

MaytoDay commemorated the civil uprisings of May 18, 1980 in the city of Gwangju. The book brings together the collaborations of four teams of curators from Asia and Latin America to think about memory, democratization movements and the state of democracy today.

There is no evolutionary chain or fate on the horizon 104 in Del Prete’s procedures. What there is, is an arachnid construction and a voracious appetite paired with somewhat slow digestion. Discussions of his modernity and affinities, of his lines of kinship (ancestors and descendants) matter little today.

This essay analyzes how three Korean artists address precariousness embodied in issues of colonialism, patriarchy, gender, social normativity, and the asphyxiation of desire, as their own places of enunciation and starting point for decolonization, as opposed to mere objects of observation.