Venice Biennale 2017
Does the label “African” at events like the Venice Biennale finally expire? The…
In this essay, artist and writer Neo Musangi takes a look back at…
Documenta 14 Athens
Under the ambitious title "Learning from Athens", this year's Documenta tries to face…
Review: Sonia Boyce at the Institute of Contemporary Arts, London
In Sonia Boyce's latest presentation, the realms of power and space are closely…
Afriques Capitales: Writing the City
For the second edition of the multidisciplinary festival 100%, dedicated this year to…
A review of Sharjah Biennial 2017
Our author Christine Eyene takes a closer look at the 13th Sharjah Biennial,…
Review: German Colonialism - Fragments Past and Present
This special exhibition on German colonialism opened in October 2016 at the Deutsches…
The Whitney Biennial 2017
Our author Will Furtado takes a closer look at this year's Whitney Biennal…
Review: The Probable Trust Registry: The Rules of the Game #1-3
Our author Jessica Aimufua takes a closer look at Adrian Piper's first solo…
Review on Postwar: Art Between the Pacific and the Atlantic, 1945-1965
What could lead a group of curators or an institution to set up…
South South Connections at the Goodman Gallery
The Goodman Gallery in South Africa opened its second exhibition under the initiative…
Exhibition Histories
In this series, C& is revisiting the most discussed, loved, hated, thought-provoking, and…
![Chemi Rosado-Seijo, documentation of Salón-Sala-Salón (Labra) (Classroom/Gallery/Classroom [Labra]), Escuela Rafael María de Labra, San Juan, PR, August–December 2014. Courtesy the artist](https://contemporaryand.com/wp-content/uploads/2017/03/28_RosadoSeijo.C_01.sm_-2048x1558.jpg)
