Issue 201

In a special commission for frieze, the artist envisions Martian colonies informed by techno-feminism

Tanning gives full expression to her childhood imagination and its innately eclectic catalogue of fears, fantasies and domestic psychodramas

Materialism, metaphysics and mysticism collide in the Shanghai-based artist’s maximalist installations

China’s triumph over Western information technology is world-historical, not just a niche curiosity

‘History is full of people who just didn’t,’ reads the first line of her riveting opening essay, which also serves as a sort of statement of intent

Three decades after German reunification, the artist articulates the inhumanity of right-wing terror, and how ideology lies within domestic interiors

The late Brazilian artist’s retrospective at the Museum of Modern Art, Rio de Janeiro, is a delicate exploration of his multi-faceted practice

A series of sculptures shown at Jenny’s, Los Angeles, challenge traditional categories of art 

In his first comprehensive exhibition in the US, at ICA Boston, a kinetic economy of endeavour quickly emerges

An exhibition at Boers-Li Gallery, Beijing, reflects on the rising voyeurism within changing media structures

With dead ends and doors to nowhere, the recent works of the Scottish artist articulate contemporary forms of nihilism

A new collection of works by the late US novelist and filmmaker shows an artist seeking to become free in ways that most women never achieve

Q: What do you wish you knew? A: I wish I understood the working of the cosmos in relation to us here on Earth

In an era marked by dishonesty, what of the age-old assumption that the eyes cannot lie?

In the lead-up to his solo show at The Met Breuer, Oliver Beer talks to Jennifer Higgie about the artists, writers and composers who have shaped his thinking 

The artist talks about butterflies, the politicization of artefacts and the lost cultural history of his Kosovar home city

Alfonso Cuarón’s Roma is full of other movies, yet it ignores the political and dialectical history of movies themselves