The words on the cover of Aslan Gaisumov’s first monograph are names of places no longer inhabited. One of these words, Kayçu-Yuxe or Keicheyuhea, names the birthplace of Zayanu Khasueva, the artist’s maternal grandmother. It is also the title of his film from 2017, in which Khasueva returns to the site of her ancestral village for the first time in seventy-three years.

The Ausseerland and the partly inaccessible landscape in the Austrian Totes Gebirge look back on a checkered political history. A great number of activities both supporting and opposing Hitler’s fascism were focused there in the mid-1940s. Six art projects in the landscape work with this individual and collective memory—from Clegg & Guttmann, Eva Grubinger, Florian Hüttner, Angelika Loderer, Susan Philipsz, and Bojan Šarčević.

The second volume in the Critical Spatial Practice series presents a selection of conversations between Markus Miessen and political philosopher Chantal Mouffe. The dialogues attempt to unpack current dilemmas and popular mobilizations in terms of consensus-driven formats of political decision making.

In 1985, the body of Josef Mengele, one of the last Nazi war criminals still at large, was unearthed in Brazil. The ensuing process of identifying the bones in question opened up what can now be seen as a third narrative in war crime investigations—not that of the document or the witness but rather the birth of a forensic approach to understanding war crimes and crimes against humanity.

Like space travel, nuclear war has for decades created a vast new territory for the imagination. Artists, however, have tended to subordinate themselves to the idea of the impossibility of adequate representation.