From Useless Wonder 04

Canned Laughter was Okón’s response to an invitation from Ciudad Juárez , Mexico, where artists were asked to create works based on their experience of the city...

Fridge-Freezer is a 2-channel video installation where Yoshua Okón explores the darker side of suburbia, d escribed by the artist as “ the ideal environment for a numb existence of passive consumerism and social a nd environmental disengagement...

Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...

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...

Taking archaeology as her departure point to examine the trajectories of replicated and displaced objects, “Who will measure the space, who will tell me the time?” was produced in Oaxaca for her exhibition of the same title at the Contemporary Museum of Oaxaca (MACO) in 2015...

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...

For Sentimentite Agnieszka Kurant collaborated with Justin Lane, CEO and Co-Founder of CulturePulse, to gather global sentiment data that has been harvested from millions of Twitter and Reddit posts related to 100 seismic events in recent history...

South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....

Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...

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...

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...

As a visual activist for the rights of Lesbian, gay, bisexual, transgender, queer and intersex (LBGTQI), Muholi’s photographs radically transgress the conventional perception of lesbian and transgender communities in South Africa...

Mariana Castillo Deball’s set of kill hole plates are part of a larger body of work problematizing archeological narratives, and drawing attention to the conservation process and its role in recreating an imagined object...

Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...

In the work Cinema , Fang Lu explores in a meticulous yet un-dramatic — almost casual — way of how “the self” in our today’s life is a controlled and staged construction of oneself...

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...

In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...