“Made in Yugoslavia”: Struggles with Self-Management in the New Art Practice, 1965–71
来源期刊:ARTMarginsDOI:10.1162/ARTM_A_00225
Modernism and World Art, 1950–72
来源期刊:ARTMarginsDOI:10.1162/ARTM_A_00235
From the Editors
来源期刊:ARTMarginsDOI:10.1162/artm_e_00224
Introduction to “Common Space and Individual Space: Comments on a Group Task from the First Half of 1993,” Academy of Fine Arts, Warsaw
来源期刊:ARTMarginsDOI:10.1162/artm_a_00228
Southward and Otherwise
来源期刊:ARTMarginsDOI:10.1162/ARTM_A_00237
Setting The Record Straighter: Part II1
来源期刊:ARTMarginsDOI:10.1162/ARTM_A_00240
Regioning Differences: Translation and Critical Cartography
来源期刊:ARTMarginsDOI:10.1162/artm_a_00244
Whitewash as Affective Platform: Art and Politics of Surface in the Work of Yto Barrada and Hassan Darsi
来源期刊:ARTMarginsDOI:10.1162/artm_a_00243
What is Hamasteghtsakan Art
来源期刊:ARTMarginsDOI:10.1162/artm_a_00247
Thresholds of the Visible. Activist Video, Militancy, and Prefigurative Politics1
来源期刊:ARTMarginsDOI:10.1162/artm_a_00242
On Curating Postwar
来源期刊:ARTMarginsDOI:10.1162/ARTM_A_00236
Contingency Plans: Art Collectives, Shared Pseudonyms, and Theories of Collectivity
来源期刊:ARTMarginsDOI:10.1162/artm_r_00248
Labor Power Plant
来源期刊:ARTMarginsDOI:10.1162/ARTM_A_00227