2019
• The Broth of Tomorrow
• Läs mina läppar
• Judith Hopf: OUT
2018
• Soul of a Nation: Art in the Age of Black Power
• Charles White: A Retrospective
• Lulu Journal #3 “The Pit”
• The Turin Horse
• Untitled
• Manifesta 12
• Art et Liberté: Rupture, War and Surrealism in Egypt (1938–1948)
• Tillvaratagna eftermiddagar
• The Seven Works of Mercy
• Raising of Lazarus
• Adoration of the Shepherds
• Burial of Saint Lucy
• Nativity with St. Francis and St. Lawrence
• The Social Strike – a talk with Michael Hardt and Kathi Weeks
• Arte Útil [3]
• Arte Útil [4]
• Arte Útil [2]
• Arte Útil [1]
• OEI #79: edit/publish/distribute!
• Rojo Indio
• Still Brazil
• Histories of Sexuality
• Los animales muertos
2017
• PRESSURE | IMPRINT
• Chateaux n°2 2017
• Provisorium
• The Image of War
• Manipulate The World

2019
• Common Property, Common Poetry
• Structure, Fulfillment, Crescendo
• Hostile Vehicle Mitigation
2018
• A Rare Slice of Art History
• Pan American Unity
• The Foundation Pit
• For Nietzsche on his Birthday
• A Certain Violence
• Death and Vegetation in Palermo: Death of l’Ancien Régime/ Death of the International Mega Exhibition – Death at Sea / Death as a Class- and Race-determined Phenomenon / Surveys of the Local Vegetation
• Annotated LRB Review
• Short Distance Champ Wins both Fast and Slow Competion
• Conspiracy between Church and Gutter
• None to whom I feel closer
• The Dusty Feet of Truth
• Tenebrism and the Raw
• Thieves of light
• “Justice is the fundament of power and stability of the Commonwealth”
• The Contradiction of Capital
• the razzle dazzle of thinking
• Stained, smelled, and sticked to the remix of reproduction like a poor image in a wrong page, it is waiting to be zoomed in the history of shhh.
• My Female Friend Richard
• The Readable Exhibition: Historical Stakes
• Still Live
• Learn Dutch to Know Brazil
• Barbarous Dance: Five Steps to Touch Your Heat
• Two Insects Kissing in a Sugar Bowl
2017
• STAMPING BOOTS, HAMMER BLOWS, LETTER ARMS
• The Little Weight of a 16 Page Poetry Review
• Stories Connected To Objects
• Critique, Manipulation, Pole Sitting?
• The Emancipated Spectator