the watering hole as arts institution & playing the fool

Thenjiwe Niki Nkosi's gymnasts on performance and negation

claywork as earthwork, memory-work & play

hydro-logics: unfurling selves, contagious bodies

a love letter on the occasion of Smith's farewell

Musa N. Nxumalo captures the ball uncaptured

how might the art world rebuild solidarity?

Frances Goodman's cosmetology of the sensual & abject

Scum Boy's queer CGI worlds corrupt the digital

Simphiwe Buthelezi's icansi are metaphors for shelter

Sepideh Mehraban's carpets remember forgotten history

Marlene Steyn's living water paintings

future dreams & spell-casting at the Stellenbosch Triennale

Carol Ann Gainer's pharmaceutical art

making fun of / with Mitchell Gilbert Messina

an ethics of witnessing for the Quiet Violence of Dreams

a self-examination of the myth of America

Stacey Stent's cartoons critique the white left

Cape Town's queer underground club utopia

chronology as a poetics of archive

everything is text in 'acts of reading'

Marinella Senatore's confused revolution

looking & being looked at in 'about face'

artists rename history in 'the past was waiting for me'

un-choreographed performances of a sound exhibition

MPW retrosepctive reads archive against the grain

theorizing the studio sale at 'shooting birds'

the viewer becomes houseguest with Jabulile Newman

ritual, ceremony & decorum in a queer congregation

navigating intimacy & boundaries in 'close encounter'

an acknowledgement of painting as an unresolved category

Ashley Walters's eye for limits, concealments & traps

Katharien de Villiers boycotts clear understanding

rethinking video art in a highly videoed world

Maurice Mbikayi's present apocalypses