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Michelle Elligott, Chief of Archives, Library, and Research Collections at MoMA, speaks with Maciej Cholewiński, Archivist at Muzeum Sztuki in Łodz (MSŁ).

In the mid-1960s, Brazilian artist Lygia Clark turned from painting and sculpture to make participatory “proposições” (propositions). In the 1970s, she started “corpo coletivo” (collective body) experiments.

Eda Čufer, art historian and member of the art collective Neue Slowenische Kunst (NSK), sheds light on the challenges in negotiating between canonical art histories and local specificities in Eastern Europe, specifically in the countries of former Yugoslavia.

This essay considers Robert Rauschenberg’s 1975 residency in Ahmedabad, India, which fostered an environment of exchange and collaboration between Rauschenberg and the Sarabhai family.

Artist and art historian Camilo Leyva considers how the practices of artists in the 1960s opened up many paths for contemporary artists in Colombia today.

Despite protests and petitions from leading architects and architectural historians across the world, the Hall of Nations was surreptitiously demolished overnight on April 23-24, 2017. In this essay, Stierli bids farewell to architect Raj Rewal’s iconic building—a hallmark of modernist architecture in post-independence India.

Artist Bernardo Ortiz discusses questions of overarching art historical narratives and local practices and histories of the Colombia art scene, highlighting the responsibility an artist has in dealing with such constructions as they make work.

At the age of sixty-seven, Polish artist Zofia Rydet began her photographic series Sociological Record in an effort to document Polish individuals in their private and deeply personal spaces.

The roundtable discussion focuses on international networks that decenter, complicate, or even bypass Western-centric models.

Film curator La Frances Hui attended the International Film Festival of Kerala and follows up with this discussion of the award-winning Malayalam feature Sexy Durga by Sanal Kumar Sasidharan.

Art historian Anthony Gardner reminds us to think of art historical categories as broad and flexible, and identifies exhibition histories in the former Yugoslavia, as a rich area of interest.

In the mid-1960s, Brazilian artist Lygia Clark turned from painting and sculpture to make participatory “proposições” (propositions). In the 1970s, she started “corpo coletivo” (collective body) experiments.