Exhibition Review Fall 2022 (8.2) Wayne Thiebaud: A Celebration, 1920–2021 and Wayne Thiebaud 100: Paintings, Prints, and Drawing Reviewed by Elaine O’Brien
In the Round Fall 2022 (8.2) Interview with the Artist Fabiola Jean-Louis Fabiola Jean-Louis, Hélène Valance, Tatsiana Zhurauliova
Colloquium Fall 2022 (8.2) Mr. President, How Long Must We Wait for Liberty? The Female Body and Society Patricia Cronin
Colloquium Fall 2022 (8.2) The Cultural Invisibility of Reproductive Health Kristin Taylor, Karen Irvine
Feature Article Spring 2022 (8.1) Visuality and the Plantationocene: The Panoramas of Regina Agu Allison K. Young
In the Round Spring 2022 (8.1) Obligations to the Local: Solidarity as Method in LaToya Ruby Frazier’s The Last Cruze Samuel Dylan Ewing
In the Round Spring 2022 (8.1) The Tide is Turning: Gullah Vernacular Knowledge and the Ecologies of Lowcountry Basketmaking Molly Robinson
Colloquium Spring 2022 (8.1) Exploring Indisposability: The Entanglements of Crip Art Jessica A. Cooley, Ann M. Fox
Exhibition Review Fall 2021 (7.2) Sonya Clark: Tatter, Bristle, and Mend Reviewed by Jordana Moore Saggese
In the Round Fall 2021 (7.2) Teaching and Creating Art in the Borderlands: A Conversation with Santa C. Barraza Mary Thomas
In the Round Fall 2021 (7.2) The Art of Flocking: Sapphire and Crystals, Education, Community Building and Collaboration Joanna Gardner-Huggett
In the Round Fall 2021 (7.2) An Interview with Black Ash Basket Makers Kelly Church and Reneé Wasson Dillard Melynda Seaton
In the Round Fall 2021 (7.2) An Interview with Art Educator Professor Johnnie Mae Maberry, Tougaloo College Lynnette Gilbert
In the Round Spring 2021 (7.1) Un-Disciplining the Archive: Jerome Reyes and Maia Cruz Palileo Ellen Yoshi Tani
Book Review To Describe A Life: Notes from the Intersection of Art and Race Terror Reviewed by Richard Hylton
Special Section Spring 2021 (7.1) The Confederate Flag in the Capitol and the Future of Artistic Expression Amy Werbel
Exhibition Review Fall 2020 (6.2) Follies: Architectural Whimsy in the Garden and Mark Dion: Follies Reviewed by Kerry Dean Carso
Book Review Fall 2020 (6.2) Stick to the Skin: African American and Black British Art, 1965–2015 Reviewed by Ellen Tani
Exhibition Review Fall 2020 (6.2) The Levee: A Photographer in the American South Reviewed by Theresa Leininger-Miller
In the Round Spring 2020 (6.1) Unenslaved through Art: Rice Culture Paintings by Jonathan Green Rachel C. Kirby
Feature Article Fall 2019 (5.2) Mikva Dreams: Judaism, Feminism, and Maintenance in the Art of Mierle Laderman Ukeles David Sperber
In the Round Spring 2019 (5.1) Walk with Me: William Anastasi’s Stenography of the Street Katie Anania
Exhibition Review Fall 2018 (4.2) Howardena Pindell: What Remains To Be Seen Reviewed by Andrea Douglas
Exhibition Review Fall 2018 (4.2) Faith Ringgold: Paintings and Story Quilts, 1964–2017 Reviewed by Debra Hanson
Bully Pulpit Fall 2018 (4.2) Karen Kramer, Curator of Native American and Oceanic Art and Culture and Director of the Native American Fellowship Program, Peabody Essex Museum Karen Kramer
In the Round Spring 2018 (4.1) Introduction: Riff: African American Artists and the European Canon Adrienne L. Childs
In the Round Spring 2018 (4.1) The Wandering Gaze of Carrie Mae Weems’s The Louisiana Project Gwendolyn DuBois Shaw
In the Round Spring 2018 (4.1) Vibrations in the Soul: Moe Brooker’s Sacred Paintings Nikki A. Greene
Exhibition Review Spring 2018 (4.1) California Mexicana, Myth and Mirage, and Found in Translation Reviewed by Patrick Frank
Exhibition Review Spring 2018 (4.1) Judithe Hernández and Patssi Valdez: One Path Two Journeys and Laura Aguilar: Show and Tell Reviewed by Charlene Villaseñor Black
Exhibition Review Spring 2018 (4.1) Painted in Mexico, Visual Voyages: Images of Latin American Nature, and Modern Masters from Latin America Reviewed by Anna O. Marley
Exhibition Review Spring 2018 (4.1) Transpacific Borderlands: The Art of Japanese Diaspora in Lima, Los Angeles, Mexico City, and São Paulo Reviewed by Marco Katz Montiel
