Martin Herbert is urged to free his mind
Tom Jeffreys reports on an exemplary critical art festival that supports communities of artists at the grassroots level
Anna Dezeuze argues that Surrealism’s unfettered individual creativity is increasingly vital in an age when alternative worlds are disappearing and imagination is outsourced to machines
Nick Thurston on libraries as artworks
Vaishna Surjid is shaken by the artist’s inquiry into his mother’s mysterious three-year disappearance, aged nine, during political crises in West Bengal
Henry Broome on homelessness, sanitation and public art
Hannah Hutchings-Georgiou on a video-game installation that provides a traumatic but transformative experience
Adam Hines-Green discovers connections in a timely exhibition of art from newly independent nations.
Caspar Heinemann argues that curators have downplayed politics in Nicole Eisenman’s Whitechapel Gallery show
Maria Walsh on the Lebanese artist‘s use of dreamlike visions to negotiate conflict
Alex Fletcher reports on the contested role of subjectivity in recent documentary filmmaking
Jonathan P Watts on the forensic feminist methodology at the heart of an artist studio mystery novel
Max L Feldman finds that this historical survey exhibition is nevertheless most focused on current events in Ukraine and Afghanistan
Greg Thomas reports on the rise of short-let artist-run spaces in Edinburgh city centre
Phoebe Cripps on the Norwegian artist’s use of historical archives to return an unsettling colonial gaze
Eddie Chambers argues that the contributions of regional public galleries in the 1980s raises questions about their impact today
Martin Herbert encounters an all-too-rare exhibition exploring the issue of classism
Jamie Sutcliffe is consumed by two new net art commissions that explore landscape horror through hypertext
Richard A Kaye encounters the magic of the double in this inspired exhibition
Joanne Laws decodes the Irish symbolism in Array’s anti-imperialist artwork
Daniel Neofetou on an East Coast culture clash
Adam Heardman on Jitish Kallat’s installation and curated exhibition confronting colonialism
Chris Clarke finds a parallel timeline revealed
Maria Walsh encounters socially engaged artworks in an east London council office and a west London royal park.
Lucia Farinati discovers the importance of death doulas
Olivia Aherne feels the discomfort in Andrea Fraser’s confrontational anti-racism video installation
Greg Thomas reports on the Ignorant Art School series of exhibitions
Martin Herbert is challenged by MMK Frankfurt’s ambitious exhibition of disability-related art
Mark Sladen encounters a chilling new film in a city where edgy art has long been welcome
Martin Herbert stalks through a chilling alternative sci-fi realm that is nevertheless eerily familiar
Adam Heardman witnesses an encounter between relational aesthetics and rarefied pomp
Cherry Smyth finds herself alive in the livefeed
Tim Steer on art projects that reveal the sociopolitical roots of mental-health issues
Matthew Noel-Tod on the instrumentalisation of artists by property developers in a time of crisis
Chloe Carroll shows that the artist’s background in architecture enables her to interrogate the identarian influence of cultural spaces
Francis Frascina discovers the limits of this collection of essays focused on art that nurtures change
George Vasey on the argument that museums must care for people more than objects
Current art-funding schemes, despite their meritocratic veneer, remain incurably unjust. It is time, says Michaële Cutaya, for a radical shake-up.
Mitchell Anderson on embodiment in the US artist’s audio tour of the gallery space
Following the controversial special issue of leftist art magazine Texte zur Kunst, Sarah E James asks what happens when anti-anti-Semitism meets the ‘alt-right’
Lin Er-Ying on the lessons to be learned from this cautionary tale of Biosphere 2, the spectacular but doomed 1980s ecological experiment
Lauren Velvick on the variety of approaches, from browser plug-ins to web interruptions, that artists and organisations are using to present art online
Alexandra Symons Sutcliffe on the way the New York duo’s work charts the flows of capital that shape our world
Maeve Connolly examines the artist‘s interest in time travel, everyday language, patterns and technological utopianism
Khairani Barokka considers ableism in art in the light of the Covid-19 lockdown
Adam Hines-Green finds that the Oscar-winning artist is liberated by the limitations of video
Royal College of Art lecturers challenge the business-first approach of British universities and their art departments
Kathryn Lloyd examines the London-based artist’s new work, which takes on Greek mythology, cinema and the world of boxing to address long-term concerns about loss and trauma.
Larne Abse Gogarty finds this exhibition and two-act play to be an antidote to today’s cruel and crass political landscape.
Amna Malik explores Void Project’s thoughtful feminisation of contested representations of masculinity through the work of the late Palestinian filmmaker.
George Vasey discusses the coercive role of images and hidden racial, social and economic biases of photographic and other technologies, as revealed in the work of the London-based artist.
Hettie Judah reviews a collaborative film that follows the lives of Londoners as their city changes around them
Giulia Smith discusses the Philadelphia-based artist’s political agenda, which centres on changing the institutional treatment of disability rather than merely representing it
Jamie Sutcliffe navigates the vortex of superstition and techno-consipiracy in Richard Grayson’s online video series
Aoife Rosenmeyer is peeved by the art market’s framing of older female artists as Cinderellas waiting gratefully to be discovered
Morgan Quaintance takes issue with the political claims made in Stephanie Bailey’s article ‘Athens: Future Past’ and Stephanie Bailey responds
Tom Emery finds out what happens when a public gallery attempts to exhibit every artwork in its collection at once
Astrid Korporaal finds a pioneering spirit full of hope for positive change in a city with a surprisingly rich art heritage
Amy Luo reviews the Japanese artist’s collaboration with US military veterans
Morgan Quaintance enjoys the artist sound collective as an enthralling reminder of the experimental alternative to cultural conservatism
George Vasey reports on the Ugandan capital’s energetic but under-resourced art scene
Chris McCormack reports on the Gwangju and Busan biennales at a tentatively hopeful time in Korean politics
Aoife Rosenmeyer on the current boom in private art institutions
Adam Pugh uses the 64th Oberhausen International Short Film Festival to show that cinema is essential today, it being one of the few remaining social structures to enable public assembly
Stephanie Schwartz reviews the two-artist show at Switzerland’s Kunstmuseum Basel
Daniel Neofetou argues that Forensic Architecture’s success in the art world is symptomatic of a broader demotion of art’s capacity for political opposition
Maria Walsh reviews the group’s ICA exhibition
Lauren Houlton reviews Sam Thorne’s survey of independent art schools
Martin Herbert reviews the German photographer’s Hayward Gallery retrospective
Maxa Zoller on Egypt’s post-revolution art scene
The Minnesota-born, Kawasaki-based artist, writer, DJ and composer explores gender and systolic systems, and argues against reconciliation
Laure Genillard asks why won’t more galleries voice the fact that art fairs are rapidly eroding their viability