[Skip to content] [Skip to main navigation] [Skip to secondary content] [Skip to quick links] [Go to accessibility information]
How does AAA make decisions about what it collects? Jane DeBevoise and Anthony Yung discuss AAA’s China projects in relation to this query
Nilima Sheikh discusses histories of the Dunhuang Caves and their influence on her work
Gender-themed art exhibitions and their relation to feminist discourse in Hong Kong
Nilima Sheikh discusses the histories and materiality of four natural pigments from her studio space in Baroda
Recommended readings on women artists practising after the end of the Cultural Revolution
On artworks, museums, rivers, and distributed ownership
Sneha Ragavan questions the dominance of English in India’s art historiography and criticism
A look at Salima Hashmi's writing on women artists in Pakistan
On art, history, institutions, and decolonisation struggles
Lee Wen considers whether performance art has lost its edge in resistance to mainstream culture
Note from the Editors
On archives as “museums minus the aesthetic experience,” the return of God as a spectator, and the totalitarianism of music
Art as an important sociopolitical voice on inequality, corruption, the environment, and authoritarianism
Chantal Wong speaks with the artist about his anxiety, artistic inspiration, and obsession with personal hygiene products
Art's task is to reveal the present more critically, clearly, and with wonder
Peggy Wang discusses her process and the materials that inform her scholarship
Three approaches to framing contemporary art outside a Eurocentric framework
On Ho Tzu Nyen's research in relation to items in the Ha Bik Chuen Archive
Leo Li Chen explores how Ha Bik Chuen’s collection opens up new ways to understand Hong Kong art history
The Singaporean artist discusses tigers, ghosts, algorithms, and life after celluloid film
