IT WAS IN the final days of preparation for our October issue that I received an email from a one Li Yuxin. Just having edited a heavy ream of articles on labor and the culture it may produce, I sighe…

Lu Yang’s “Uterusman,” a semi-open-source work featuring the eponymous genderless superhero warrior, takes the inspiration for its protagonist’s physique from the shape of a female uterus, itself rese…

According to historian Philip A. Kuhn, China’s “modern” emigration began in the early sixteenth century, the start of what he labels as the four eras of Chinese emigration: the early colonial age (six…

Is there such a thing as public space today? Given the decisive battles over public space that have taken place in the twenty-first century alone, this was a timely question posed by the heavily criti…

I’m A. Zombie and I just keep coming back. No one is sure where I originate from but everyone knows I’m going to be around forever. I have my own theories; some proof even. I’ve commissioned research,…

A couple of things suggest that the 12th Biennale de Lyon is an attempt to sidestep the sober seriousness of many large-scale exhibitions. The first is the visual identity of the biennial, which is ba…

Upon wining this year’s Emdash Award, a prize presented in conjunction with the Frieze Foundation celebrating emerging artists, Pilvi Takala decided to give the majority of the GBP 10,000 prize money …

“Roppongi Crossing 2013” is the fourth triennial survey of trends in contemporary Japanese art at the Mori Art Museum. The curatorial team of Mami Kataoka, Reuben Keehan, and Gabriel Ritter have maint…