Shanghai Biennale Awaiting Your Arrival

The Illusion of Everything (2014) follows an unseen pedestrian as he navigates the Australian city of Melbourne’s dense and intricate network of laneways...

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 ...

Lockhart’s film Lunch Break investigates the present state of American labor through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...

Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...

Some Dead Don’t Make a Sound (Hay muertos que no hacen ruido) is a single-channel video by Claudia Joskowicz that features the Mexican legend of the Weeping Woman (La Llorona) as its main protagonist...

Open Mind is a model created by Capote for a traversable public maze that, when seen from above, resembles the human brain...

Meireles, whose work often involves sound, refers to Sal Sem Carne (Salt Without Meat) as a “sound sculpture.” The printed images and sounds recorded on this vinyl record and it’s lithographed sleeve describe the massacre of the Krahó people of Brazil...

Kwan Sheung Chi’s work One Million is a video work depicting the counting of bills...

Michigan Central Station is part of a larger photographic series, Detroit Photos , which includes images of houses, theaters, stadiums, offices, and other municipal structures...

The Class (2005) by Araya Rasdjarmrearnsook challenges the viewer’s personal sense of morality and tolerance by depicting a classroom from hell...

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 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 ...

Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...

In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...

One Million is a video work depicting the counting of bills...

A photograph of a tin box full of marijuana simply titled Green Box, speaks to the constantly changing status of the substance–once taboo or illicit, now a symbol of a growing industry in Northern California...

Los rastreadores is a two-channel video by Claudia Joskowicz narrating the story of a fictitious drug lord, Ernesto Suarez, whose character is based on the well-known Bolivian drug dealer, Roberto Suárez...

Visalia Livestock Market, Visalia, California results from Lockhart’s prolonged investigation of an agricultural center and community...

Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...

Herculine’s Prophecy by Juliana Huxtable features a kneeling demon-figure on what appears to be a screen-print, placed on a wooden table, which has then been photographed and digitally altered to appear like a book cover, with a title and subtitle across the top, and a poem written across the bottom...