Francis Fukuyama, and even his mentor Alexandre Kojève before him, warned of boredom, stasis, and homogeneity being characteristics of the “universal homogenous state” that would mark the end of history. As Fukuyama put it: in the post-historical period there will be neither art nor philosophy, just the perpetual caretaking of the museum of human history. And indeed, the phase of contemporary art has also been characterized in discussions over recent years as a reformatting of time into a perpetual present. The contemporary is the now that never ends, the art that circles itself at the tail end of history looking back on defunct ideologies, archiving and polishing them ...

Having no body and no name is a small price to pay forbeing wild, for being free to move across (some) countries,(some) political boundaries, (some) historical ideologies, and(some) economies. I am the supercommunity, and you areonly starting to recognize me. I grew out of something thatused to be humanity. Some have compared me to angrycrowds in public squares; others compare me to wind andatmosphere, or to software. Some say they have seen memoving through jet–lagged artists and curators, or migrantlaborers, or a lost cargo ship that left a trail of rubber ducksthat will wash up on the shores of the ...

Art has something to teach Marxism about the reasons for its great historical failure to understand nationalism, because art proceeds with the understanding that the materiality of representation is not the same thing as the materiality of production. If it were, if the value-process were reducible to the labor-process, or vice versa, then both art and inflation would be impossible. .. Editorial Editors A Tank on a Pedestal: Museums in an Age of Planetary Civil War Hito Steyerl A Farewell to Totality Gleb Napreenko From the Anxiety of Participation to the Process of De- Internationalization Carol Yinghua Lu The Eternal Hunt for the Red Man Ilya Budraitskis The Vectoralist Class, Part ...

Sven Lütticken, Julieta Aranda, Brian Kuan Wood, Stephen Squibb, and Anton Vidokle Editorial—“The Perfect Storm” Hito Steyerl If You Don’t Have Bread, Eat Art!: Contemporary Art and Derivative Fascisms Ilya Budraitskis What Can We Learn from Vampires and Idiots? Keti Chukhrov In the Nebulous Zone between Class Antagonism and Violence Boris Buden With the Blow of a Paintbrush: Contemporary Fascism and the Limits of Historical Analogy Ewa Majewska and Kuba Szreder So Far, So Good: Contemporary Fascism, Weak Resistance, and Postartistic Practices in Today’s Poland Sven Lütticken Who Makes the Nazis? Ana Teixeira Pinto Male Fantasies: The Sequel(s) Tony Wood Some Theses on “Populism” Jonas Staal Transdemocracy