The aesthetics of political engagement has become common currency within artistic production and discourse, and the abundance of works and exhibitions now announcing themselves as politically charged are often criticized for their distance from actual social forces outside art. While institutional critique successfully identified certain parallels between these forces and the workings of art institutions, it seems that this has simply given way to a more nuanced (and however richer) discourse for understanding the way power operates within the micro-economy of art itself. Through this, a collective desire for some form of rupture within art has come to constitute an economy of precious theoretical objects all its own—judged and appraised by their capacity to symbolically dismantle the current regime…

Editorial
Julieta Aranda, Brian Kuan Wood, Anton Vidokle

Subjects of the American Moon: From Studio as Reality to Reality as Studio
François Bucher

ALPHABETIZATION, Part I: Protocol and Proficiency
Luis Camnitzer

Becoming Tarden — Prologue
Jill Magid

(Under)Privileged Spaces: On Martha Rosler’s “If You Lived Here…”
Nina Möntmann

Positively Trojan Horses Revisited
Simon Sheikh

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