Issue 26 January-February 1996
Artificial Pleasures
Rem Koolhaas' Eurolille
Team Colours
Lane Relyea on sports merchandising and team spirit
The Shock of the Used
The relevance of Charles and Ray Eames
The Roswell Incident
Union Pictures for Channel Four Television
Wibbling Rivalry
Fierce Panda Records
Age of Innocence
An interview with Amy Adler, a New York lawyer specialising in issues of free speech
Pulp fact
The British zine scene
Listen to the Night
Kathryn Bigelow's Strangedays
No Place Like Home
The Architecture of Bruce Goff
Forbidden Images
Mat Collishaw
Occupied Territories
africa95
Serious Play
Christine Borland
1965-1975: Reconsidering the Object of Art
Museum of Contemporary Art, Los Angeles, USA
By David A. Greene
Maria Lindberg
Andrehn-Schiptjenko, Stockholm, Sweden
By Daniel Birnbaum
Alison Saar: Strange Fruit Kiki Smith
Phyllis Kind Gallery, New York, USA
By Paul Myoda
Hilary Lloyd
Cultural Instructions, London, UK
By Gregor Muir
Division of Labor:’Women’s Work’ in Contemporary Art
Museum of Contemporary Art, Los Angeles, USA
By Juan Hugo
Lorna Simpson
Sean Kelly, New York, USA
By Ronald Jones
Self-Made
Kunstverein, Graz, Austria
By Justin Hoffmann
Judy Linn
Feature, New York, USA
By Bruce Hainley
Gang Warfare
Independent Art Space, London, UK
By Chris Darke
A Night at the Show
Fields, Zurich, Switzerland
By Sjoukje van der Meulen
Mark Luyten
Galerie Micheline Szwajcer, Antwerp, Belgium
By Michael Tarantino
Brice Marden
Matthew Marks Gallery, New York, USA
By Ronald Jones
Mary Heilmann and Elizabeth Cannon
Christinerose Gallery, New York, USA
By David Pagel
Bernard Frize
Frith Street Gallery, London, UK
By David Barrett
Henrik Hakansson
Galleri Tre, Stockholm, Sweden
By Maria Lind
Olafur Eliasson
neugerriemschneider, Berlin, Germany
By Christiane Schneider
Ideal Standard Summertime/ Postscript
Lisson Gallery, London, UK
By Neal Brown
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