It’s worthwhile to question the field of art from time to time, to demand to know its basic motives and intentions. Where is all this production actually heading? How do we locate the work of the work, as it were?

But finding a resolution or consolidating art’s meaning into some form of criteria is probably not the point. Perhaps it makes more sense to simply continue asking, in as many ways as possible, the question of what art should do, and how it might do it. These questions can produce a degree of clarity when posed from outside of the usual context of the art field. After all, it is precisely the anxiety caused by this displacement that generates many of art’s most vital forms. When the usual questions concerning modes of production or categories of art are suddenly posed by an immigration official, or an organic supermarket, or a Beijing hutong, the pressure to translate art into vernacular terms becomes extremely productive…

Editorial
Julieta Aranda, Brian Kuan Wood, Anton Vidokle

Concerning Matters to be Left for a Later Date, Part 2 of 4 (Guest-Starring Pia Rönicke)
Michael Baers

Sleepwalking in a Dialectical Picture Puzzle, Part 2: A Conversation with Thomas Keenan
Natascha Sadr Haghighian

Don’t Stop: Doing Art Potluck Style
Carol Yinghua Lu

Europe Sans: History, Politics, and Protocol in the EU Image
Metahaven

Positively Counter-Publics Revisited
Simon Sheikh

Disobedience in Byelorussia: Self-Interrogation on “Research-Based Art”
Sean Snyder