Class inevitably raises awkward questions for the protagonists of contemporary art—about their backgrounds, patrons, and ideological partialities. Lapdogs of the Bourgeoisie investigates this latent yet easily overlooked issue, which has been historically eclipsed by gender, sexuality, ethnicity, and nationality.

A speculative, existentialist fiction on the melancholia of revolutionary politics and good intentions, Tirdad Zolghadr’s novel is composed of the logorrhea of online communication and unpublished manuscripts.

It is difficult to imagine making claims for human rights without using images. For better or worse, images of protest, evidence, and assertion are the lingua franca of struggles for justice today. The Flood of Rights examines the pathways through which these images and ideas circulate—routes that do not merely enable, but actually shape human-rights claims and their conceptual background.

Traction argues that contemporary art is defined by a moral economy of indeterminacy that allows curators and artists to imagine themselves on the other side of power. This self-positioning, in turn, leaves us politically bankrupt, intellectually stagnant, and aesthetically predictable. In his memoir-polemic, curator and writer Tirdad Zolghadr candidly reflects on his own experiences and the work of others.

With Sundry Modernism, Oraib Toukan presents an informal register of modernist Palestinian architecture—an assemblage of images and stories collected from 2013 to 2015 in the cities of Nablus, Ramallah, Jerusalem, Bethlehem, and Jericho.

The catalogue Unknown Unknown documents recent work by Polish artist and curator Agniezka Kurant and was published on the occasion of Kurant’s presentation at Frieze Projects 2008.

The artists Agnieszka Kurant and Aleksandra Wasilkowska are representing Poland at the 12th International Architecture Exhibition in Venice 2010, August 29 – November 21, 2010.

This publication emerges from Uriel Orlow’s Theatrum Botanicum (2015–18), a multi-faceted project encompassing film, sound, photography, and installation, which looks to the botanical world as a stage for politics. Working from the dual vantage points of South Africa and Europe, the project considers plants as both witnesses to, and dynamic agents in, history.