Front & back cover: Daniela Edburg, Muerte por algodon de azucar, (Death by Cotton Candy), 2006
Digital composite on paper
35 x 50 inches
Courtesy Kunsthaus Miami
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The Other F-word

Third-Generation Feminism and its Antecedents

Rachel Cook

When recently asked about feminism—more specifically, about feminist art—I initially had to stop and think about how this word affects me personally...

Encounter #1 & Withdrawal #2

The Four Transactions

Eleanor Antin

May I Help You?

A Performance by Andrea Fraser

Andrea Fraser

The New York art gallery is installed with an exhibition of approximately 100 of Allan McCollum’s Plaster Surrogates...

Purse Projects (2005-2007)

Chuck Ramirez

Anjali Gupta

There is an inextricable element of narcissism attached to the history of commissioned portraiture. Whether executed with the grandiosity of a Mannerist masterpiece or carrying the deceptively spontaneous feel of a Nan Goldin photograph, a portrait, in the traditional sense, is meant to capture not just the visage but the very essence of a subject...

You've Come a Long Way Baby

A Discussion with Andrea Karnes

Charissa N. Terranova

As the old proverb goes, “Children should be seen, not heard.” Andrea Karnes, curator of Pretty Baby at the Modern Art Museum of Fort Worth, recasts this fusty adage in the active voice...

COMMENT FOR THE WACK! CELL PHONE TOUR

Lorraine O'Grady

Mlle Bourgeoise Noire is French for Miss Black Bourgeois. The backstory I created for her was that she’d won the title in a worldwide event held in Cayenne, the capital of French Guiana...

Notes for MOCA Gallery Talk March 22, 2007

Lorraine O'Grady

Now that I have a captive audience, first, I want to thank Connie Butler for her ability to SEE, to see that there was—and has always been—more to art and to the feminist revolution than could be contained in the now canonical but limited Anglo-American-centric version of feminist history.

Misogyny as Feminism

Barbara Perea

I suddenly find myself in a curious position, attempting to pen—or rather the twenty-first-century equivalent thereof—a semi-coherent text on recent, postfeminist, in-your-face radical practices in contemporary art...