‘Out to See Video’: EZTV’s Queer Microcinema in West Hollywood
A Self-Portrait of Christ or the White Noise of Photography? Paul Vignon and the Earliest Photograph of the Shroud of Turin
A Self-Portrait of Christ or the White Noise of Photography? Paul Vignon and the Earliest Photograph of the Shroud of Turin
Abstract Habitats: Installations of Coexistence and Coevolution
Allan Sekula’s Ship of Fools/ The Dockers’ Museum
Allan Sekula, or What Is Photography?
An Eternal Esthetics of Laborious Gestures
Arresting Figures
Beyond the Line, or a Political Geometry of Contemporary Art
Cinema against the Permanent Curfew of Geometry: Guy Debord’s Sur le passage de quelques personnes à travers une assez courte unité de temps (1959)
Contingent Cubism
Counter-forensics and Photography
Curve, Line, Circle, Slash, Cross: A Diagram of Liquid Intelligence
Doubling Time
Editors’ Introduction: Allan Sekula and the Traffic in Photographs
Found Paintings, Disassembled Movies, World Images
Guy Debord and the Cultural Revolution
Guy Debord’s Time–Image: In girum imus nocte et consumimur igni (1978)
Guy Debord, Filmmaker
How to Hear What Is Not Heard: Glenn Ligon, Steve Reich, and the Audible Past
Hurlements en faveur de vous
In Light of the Arc
Inside: Out
Landscapes of Ice, Wind, and Snow: Alexander Kluge’s Aesthetic of Coldness
Liquidity, Technicity, and the Predictive Turn in Chinese Ceramics
Missed Encounters: Critique de la séparation between the Riot and the ‘Young Girl’
Modern Art, Inc.: The Museum of Modern Art v. Huntington Hartford
On “About Grey Room”
Photography and the Limits of National Identity
Post-Election Artists Dossier
Rethinking Sekula from the Global South: Humanist Photography Revisited
Seurat’s Media, or a Matrix of Materialities
Strangeloves: From/De la région centrale, Air Defense Radar Station Moisie, and Media Cultures of the Cold War
Straw in the Ice: Stories
The Cunning of Sir Sloshua: Reynolds, the Sea, and Risk
The Flying Proletarian: Soviet Citizens at the Thresholds of Utopia
The Inductive Turn in Conceptual Art: Pragmatics in the 0–9 Circle
When We Were on the Shenandoah
With and Against Cinema
