Bob Dickinson on artists who have engaged with the legacies of trauma
Gilda Williams on the politics and aesthetics of ruins
Bob Dickinson on art that challenges populist governments’ rewriting of the past
Marcus Verhagen on the politics and aesthetics of time
Jasmina Tumbas on the pull of nostalgia as both a poison and a cure
Psychosexual fixations and neuroses do not respect national or racial boundaries says Eddie Chambers
Sarah Jury argues that art can make a difference
Jennifer Thatcher on women in the arts
Elisabetta Fabrizi experiences film installation as an act of remembrance
Emilia Terracciano profiles the Palestinian artist and filmmaker
Francis Frascina on countering histories
Julian Stallabrass examines political and corporate interests in relation to images of war
Sara Selwood assesses the state of public art whilst some of it sinks into the Mersey
Following the orgy of 1960s nostalgia, Andrew Wilson reviews the inevitable revival of interest in 1970s Punk signalled by a clutch of new books on the subject
Dave Beech on the neoliberal agenda behind the cuts in arts education
Dean Kenning on art energy in an age of ecology
Colin Perry questions the radical intentions of the Barbican exhibition
Tom Denman argues that Tate used its Lynette Yiadom-Boakye exhibition to suggest that race is no longer an issue
In the face of increasing privatisation in the UK Giulia Smith discusses the politics of health
According to Dave Beech video projection will be a defining embarrassment for the 1990s like shoulder pads were for the 1980s
Jamie Sutcliffe takes a worm’s eye view
Nathan Jones makes new sense from non-sense
Sara Jaspan reports from an artist-led Crip Theory workshop
Dave Beech critiques Jacques Rancière’s concept of the ‘emancipated spectator’
Gavin Grindon reports on the crisis in Copenhagen
Larne Abse Gogarty on the uses and abuses of social practice
Uladzimir Hramovich on being swept up in mass political arrests
Sophie J Williamson explores how artists are critically reconnecting to our ‘geological ancestry’
Rasheed Araeen delivers a polemic on the cultural policies of positive discrimination
Rob La Frenais on art that might outlive the human race
Activism is not an add-on says Tom Snow
Morgan Quaintance argues that it is time to rethink how artwork is distributed online
Michael Hampton explores Jared Pappas-Kelley’s idea that art is revealed through its destruction
Colin Perry discusses protest art that uses the law as an artistic medium
Ranjana Thapalyal calls for interdisciplinary art teaching to decolonise the curriculum
Dave Beech asks the question
Dave Beech on the fall of public art
Richard Hylton on Eddie Chambers’s challenge to art institutions and their treatment of black British artists
Barbara Pollack finds she is still not ready to forgive and forget for art’s sake
So much expected so little delivered – Michael Corris on post 9/11 art from the USA
Richard Hylton discusses the rise in thematic shows of black artists
Anna Dezeuze on art and the climate of censorship that bedevils relations between the US, Israel and the Palestinians
Colin Perry on the vexed relationship between art and TV
Eddie Chambers argues that this BBC Radio 4 series continues the UK’s marginalisation of major 20th-century African-American artists
Beryl Graham & Sarah Cook explore the debates around curating new media art
Sally O’Reilly flicks through every issue of General Idea’s FILE magazine from 1972 to 1989
Barbara Pollack traces the legacies of David Wojnarowicz in New York today
Francis Frascina reconsiders conflicting debates about female pleasure and female violation in cultural representation
Sonia Boyce interviewed by Isobel Harbison
John Baldessari interviewed by Simon Patterson
Art history lags behind other disciplines in incorporating art by black and ethnic minorities argues Richard Hylton
Ashiya Eastwood on the art-education system’s failure to deal with mental-health issues
John Berger talks to Janine Burke
Robert Ayers looks back at three decades of Performance Art
Andrea Zittel interviewed by Alex Coles
But at what price asks Lizzie Homersham
Larne Abse Gogarty charts the rise of the right in art
Caroline Juler reports on art under fire from Belgrade and Sarajevo
Paul O’Neill on the collective alternative to the romantic cliché of the lone artist, curator and critic
Marina Abramovic interviewed by Iwona Blazwick
Colin Perry on the greasing of the art industry
Seth Siegelaub interviewed by John Slyce Part 2
Anna Dezeuze reports on what is still a surprisingly little-known art form
Brandon Taylor muses on the museum of the future
Francis Frascina on Brexit, the body and the workings of the state
Jamie Sutcliffe argues that virtual technologies offer only a fantasy of freedom
Marcus Verhagen on the contradictions inherent in globalisation
It is time that the art world put its own house in order, argues Jennifer Thatcher
Barbara Pollack finds at PS1/MoMA a new model of exhibition that reveals Africa’s influence on western modernism
Brian Hatton proposes a theory of the loop that predates its popular usage in film and video art theory
Liam Gillick worries about the art of context
Chris Fite-Wassilak on reclaiming the digital landscape
Has black art from Britain been quarantined in New York asks Eddie Chambers
Andrew Hunt on the importance of antagonism in public art
Mark Thomson on the Belgian poet-turned-artist
Dave Beech on participation in art
Mark Prince analyses the language of objects
Amna Malik on viewing the past through the eyes of the present
Dave Beech on critical art after Postmodernism
Bad girls or babes – Barbara Pollack on postfeminist art
Paul O’Kane on art and being
Simon Ford and Anthony Davies explain the surge to merge culture with the economy
Mark Leckey interviewed by Jennifer Thatcher
Morgan Quaintance on the phenomenon of virtual lives
John Hilliard interviewed by Patricia Bickers
Gareth Jones on the future of art education
Bob Dickinson on eco art
Alfredo Jaar interviewed by Kathy Battista
Julian Stallabrass finds that the Cold War still dictates the agenda in the Hayward Gallery’s Council of Europe exhibition
Christopher Townsend on the link between Modernism and postmodernity in design
Richard Grayson on the ends of post-internet art
Morgan Quaintance on the end of post-internet art
Maria Walsh on art and the new objecthood
Paul O’Neill on the dysfunctional relationship between independent curators and institutions
Stuart Morgan traces the brief history of Milch, the Gallery that planned to reach the parts that other galleries don’t reach
Women are still woefully under-represented in the art world argues Jennifer Thatcher
For all its environmental, theoretical and literary significance Smithson’s work was above all visual insists Joseph Masheck
Sarah James argues that it is time to re-examine some fundamental issues
Eddie Chambers reviews the first decade of inIVA’s activities
James Odling-Smee on a proposal to ban corporate sponsorship of the arts
Anna Dezeuze on humour and contemporary art
Francis Frascina revisits Lament of the Images
Mark Wilsher proposes redefining public art
Maria Walsh logs on to a live-streamed web-based performance
What if Warhol Cared? asks David Hopkins
David Barrett on the future of the art education market
David Lillington on the row over a French show of German art
John Douglas Millar on why experimental writing thrives in the art world
In our obsession with objects what has happened to the subject asks Laura McLean-Ferris
Andrew Wilson asks if artists need to become property developers to keep their studios
Francis Frascina on schisms, ‘splitting’ and contradictions in documentary art
Steve McQueen interviewed by Patricia Bickers
Maja and Reuben Fowkes on the Occupy effect on contemporary art
Anna Dezeuze on the appropriation of art by advertising
Seth Siegelaub interviewed by John Slyce
Mary Kelly interviewed by Maria Walsh
What do artists need to know? asks Michael Corris
According to Sarah James the West’s view of the art of the former Eastern bloc is still too Moscow-centred
Alex Farquharson on the new alliance between the performative curator and the relational artist in the postproduction of art
John Douglas Millar on the ethics and aesthetics of docu-art
Michael Archer looks beyond the readymade in art
Julian Maynard Smith on Tate Modern’s ‘The World as a Stage’
Peter Scott on the mayor, the waterfalls and the art of neoliberalism
Chris Townsend asks if protest art can be effective
Rikke Hansen on the public life of things
Andrew Wilson finds that ‘About Vision’ is more about looking
Mark Durden discusses the matter of painting
One way to negotiate the ethical uncertainties of images is to consider how they serve our understanding of the subject, suggests Adam E Mendelsohn
Recent exhibitions of ‘Middle Eastern’ art rely on very old generalisations argues Pryle Behrman
Video history – who needs it? We do argues Catherine Elwes
Dean Kenning reports from the inside on the wave of art school protests
Alex Coles discovers untold riches in Arte Povera
Beryl Graham & Sarah Cook on the challenges of exhibiting massless media
Extremist, self-indulgent and uncool it may be but live art also offers new possibilities for politically engaged art argues Sally O’Reilly
According to Andy Warhol all department stores will become museums and all museums will become department stores – Jonathan Harris goes shopping
As documentary retreats from the public to the private sphere Sarah James asks why
A matter of opinion or what? Sally O'Reilly provides some statistics
Dave Beech tackles an old taboo
Patricia Bickers samples ‘Un siècle de sculpture anglaise’ at the Jeu de Paume
All good clean fun asks Anna Dezeuze
Andrea Zittel profiled by Benjamin Weil
So you wanna make movies? Michael O’Pray looks at artists as film directors
Marcus Verhagen discusses globalisation and time
Julian Stallabrass looks at Iraq through the lens of Vietnam
Alex Coles on art’s romance with design
John Jordan on what happened when Tate programmed a workshop on disobedience
Fiona Banner profiled by David Barrett