‘Out to See Video’: EZTV’s Queer Microcinema in West Hollywood
A Discussion on the Global and the Universal
Allan Sekula’s Ship of Fools/ The Dockers’ Museum
An Eternal Esthetics of Laborious Gestures
Arresting Figures
Beyond the Line, or a Political Geometry of Contemporary Art
Beyond the Sea-Land Divide: A World Map
Cinema against the Permanent Curfew of Geometry: Guy Debord’s Sur le passage de quelques personnes à travers une assez courte unité de temps (1959)
Cleverness and Drive, or the Cybernetic Fantasy of Value: R.S. Hunt’s “Two Kinds of Work”
Counter-forensics and Photography
Dance of Values: Reading Eisenstein’s Capital
Doubling Time
Envisioning Reform: The International Hotel in Postrevolutionary China, 1974-1990
Found Paintings, Disassembled Movies, World Images
Guy Debord and the Cultural Revolution
Guy Debord’s Time–Image: In girum imus nocte et consumimur igni (1978)
Guy Debord, Filmmaker
How to Hear What Is Not Heard: Glenn Ligon, Steve Reich, and the Audible Past
Hurlements en faveur de vous
In Light of the Arc
Missed Encounters: Critique de la séparation between the Riot and the ‘Young Girl’
Modern Art, Inc.: The Museum of Modern Art v. Huntington Hartford
Multimedia Environments and Security Operations: Expo ‘70 as a Laboratory of Governance
Notes on Utopia, the City, and Architecture
On “About Grey Room”
Outdating: The Time of “Culture” in Colonial Egypt
Photography and the Limits of National Identity
Post-Election Artists Dossier
Rethinking Sekula from the Global South: Humanist Photography Revisited
Shadows of Expectation: Robert Hooke’s Picture Box and the Visual Economy of Projection
Strangeloves: From/De la région centrale, Air Defense Radar Station Moisie, and Media Cultures of the Cold War
The Chorein of the Pirate: On the Origin of the Dutch Seascape
The Dialectic of the University: His Master’s Voice
The Flying Proletarian: Soviet Citizens at the Thresholds of Utopia
The Other End of the Trajectory: Danger Zones
The Smartness Mandate: Notes toward a Critique
The World Solar Energy Project, ca. 1954
Theses on the New Öffentlichkeit
When We Were on the Shenandoah
With and Against Cinema
