OPEN ACCESS
- Tropical Modernism(s), Miscegenated Art and Modernity
- Fifty Years Later: Art, Ecocide and Animatedness in Vietnam
- Why Exhibit Trauma?
- Telemetric Feeling in Tita Salina and Irwan Ahmett’s The Ring of Fire (2014–Present)
- /Shi: A Signpost on the Blurry Map of Myanmar Art History
- Artists and the People: Ideologies of Art in Indonesia by Elly Kent (review)
ABSTRACTS
- Maimonides’ Straight-Branched Menorah: A Samaritan Parallel
- A Tale of Two Spice Towers
- Lost and Found: The Architectural Spice Box and the Context of Late Medieval Domestic Material Culture
- Fourteenth-Century Nested Beakers in a Jewish Context: Profane Drinking Vessels or Ritual Objects?
- Hidden Findings: Textiles in Genizot
- Disposed or Concealed: The Intriguing Case of Genizah Shoes
- Adaptation and Imitation: The Iconography of Jewish Ceremonial Objects and Mass Production
- Contributors to This Issue
- Qian Xuan Pounding the Balustrade: Multivalent Views of Displaced Scholars in Wang Xizhi Watching Geese
- Entering the Seemingly Unattainable Citadel of Laṅkā: Rock-Carved Laṅkāvatāra Sutra on Mount Gang in Shandong
- Xu Bing’s The Character of Characters and the Possibilities of Calligraphic Animation
- To Fill “a Gap in Indian History”: An Archival Reckoning with the Term Company Painting
- Alternative by Jean Kamba (review)
- Africa Fashion (review)
- What Is African Art? A Short History by Peter Probst (review)
- Uli: The Colonial Archive as Decolonial Cultural Resource
- “We are Yoruba” or the Notion of African Art in Brazil
- Teaching African Art in the Time of AI
- Sam Joseph Ntiro: Mapping the Path of a Pioneering Artist, Educator, Scholar, Diplomat, and Civil Servant
- I Hold in My Hand … Prestige, Rank, and Power
- Pape Diop’s Mystical Graffiti: A Twenty-Year Retrospective