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 ...

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 ...

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...

A mesmerizing experience of a vaguely familiar yet remote world, History of Chemistry I follows a group of men as they wander from somewhere beyond the edge of the sea through a vast landscape to an abandoned steel factory...

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...

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 primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...

Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s...

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...

The photograph Exquisite Eco Living is part of a larger series titled Executive Properties in which he digitally manipulated the images to insert iconic buildings of Kuala Lumpur in the view of derelict spaces also found in the city...

Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...

Conceived as a large-scale mural-like projection, Color of History, Sweating Rocks is a neo-futuristic, hybrid film that combines cinematic language, collage, animation, and inventive forms to highlight the plight of the peoples of the Sahara—and refugees in general—who have been displaced by oil-mining....

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...

In the video work Drag, a man in a dark room pulls on the end of a rope...

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...

The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...

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...