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Opinion

‘Movies don’t change, and I do, and I don’t. Memory isn’t a choice and, like everyone, I forget way more than I can recall, necessarily.’

By Lynne Tillman

Amy Fung’s new essay collection is an infuriated breakup letter to the art world

By Mitch Speed

The fantasy series’ nihilistic refusal of meaning is the bravest TV finale since ‘The Sopranos’

By Gerry Canavan

On a viral protest trend and the preposterous history of milk-based eugenics

By Cody Delistraty

The Korean director’s win marks a return to the expected, after years of films with mixed critical and populist support taking the top prize

By Charles Bramesco

In ‘New Order: Art and Technology in the Twenty-First Century’ at the Museum of Modern Art, New York, the definition of ‘technology’ is intentionally loose

By Mike Pepi

Scherer’s ‘didactic operetta’ at Kinderhook & Caracas, Berlin, mimics a world of debased authority

By Stanton Taylor

The Golden Lion-winning Lithuanian Pavilion, ‘Sun & Sea (Marina)’, crafts an endless pop song for the end times

By En Liang Khong

By Natasha Ginwala with contributions from Abdul Halik Azeez (@Colombedouin), Muvindu Binoy, Sandev Handy, We Are From Here, Imaad Majeed and Pushpakanthan Pakkiyarajah

By Natasha Ginwala
Mariko Mori, Tea Ceremony I, 1994. Courtesy: Sean Kelly, New York and SCAI the Bathhouse, Tokyo

How cyborg identities have empowered women to challenge societal norms

By Yae-Jin Ha
Edward Kienholz, The Eleventh Hour Final, 1968, multi-media. Copyright Kienholz. Courtesy: © the artist and L.A. Louver, Venice, CA

‘Past is prologue’ in two shows at the Smithsonian American Art Museum, following the 50th anniversary of the Tet Offensive

By Ian Bourland

A new book by Jay David Bolter chronicles the demise of cultural gatekeeping

By Houman Barekat