100 Hand drawn maps of my country, India

The three monkeys in Don’t See, Don’t Hear, Don’t Speak are a recurring motif in Gupta’s work and refer to the Japanese pictorial maxim of the “three wise monkeys” in which Mizaru covers his eyes to “see no evil,” Kikazaru covers his ears to “hear no evil,” and Iwazaru covers his mouth to “speak no evil.” For the various performative and photographic works that continue this investigation and critique of the political environment, Gupta stages children and adults holding their own or each other’s eyes, mouths and ears...

Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...

Enrique Ramirez’s La Memoria Verde is a work of poetry, politics, and memory created in response to the curatorial statement for the 13th Havana Biennial in 2019, The Construction of the Possible ...

This photograph is part of the series titled “Iris Tingitana project” (2007) focusing on the disappearance of the iris...

The perceived effortlessness of power, projecting above experiences of labored subordination is examined in Death at a 30 Degree Angle by Bani Abidi, which funnels this projection of image through the studio of Ram Sutar, renowned in India for his monumental statues of political figures, generally from the post-independence generation...

The image of rusted nails, nuts and bolts as shrapnel sandwiched between a fried Chicken burger highlights the contrast between decadence and destruction...

The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...

The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...

Malani draws upon her personal experience of the violent legacy of colonialism and de-colonization in India in this personal narrative that was shown as a colossal six channel video installation at dOCUMENTA (13), but is here adapted to single channel...

Untitled (Grate I/II: Shan Mei Playground/ Grand Fortune Mansion) is part of a series drawn from architectural objects that mark the boundary of public and private spaces Wong encountered while strolling in Hong Kong...

Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...

Created for the tenth Lyon Bienniale, in Days of Our Lives: Playing for Dying Mother, Wong’s ongoing negotiation of postcolonial globalization takes aim at French society...

The Last Post was inspired by Sikander’s ongoing interest in the colonial history of the sub-continent and the British opium trade with China...

In Un Hombre que Camina (A Man Walking) (2011-2014), the sense of rhythm and timing is overpowered by the colossal sense of timelessness of this peculiar place...

Julio Cesar Morales’s watercolor drawings, Undocumented Intervention , show a variety of surprising hiding places assumed by people trying to cross into the United States without documentation...

For his series of digital collages Excerpt (Sealed)… Rhodes appropriated multiple images from mass media and then sprayed an X on top of their glass and frame...

The Third Seal—They Are Already Old...

The video Interrupted Passage presents a performance Morales staged in the former home of Mariano Guadalupe Vallejo, a mid-nineteenth-century Mexican general serving in California...

Contrabando is a work that references the larger sociological phenomenon in which immigrant economic strategies come to infiltrate urban landscapes...