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The article presents a list of grantors, sponsors and donors being acknowledged by Atlanta, Georgia-based nonprofit organization Art Papers for their generous support of the "Art Papers Magazine" and its public programs, including the Andy Warhol Foundation for the Visual Arts and Thomas Alvey.

An introduction to the journal is presented in which the editor discusses the various topics within the issue, including art and activism, materialism in the art works of artists like Ang Li, and the traveling solo exhibition of Carolyn Lazard.

This section presents a list of the donors, grantors, and sponsors of non-profit organization Art Papers, which include The Andy Warhol Foundation for the Visual Arts, the U.S. National Endowment for the Arts (NEA), and Art Initiative.

This section presents a list of sponsors and donors that offered financial support to nonprofit organization Art Papers which include The Andy Warhol Foundation for the Visual Arts, the U.S. National Endowment for the Arts (NEA), and Art Initiative.

A list of the grantors, sponsors and donors of the non-profit organization and periodical "Art Papers" based in Atlanta, Georgia as of June 2021 is presented including AEC Trust, Homestead Foundation, and Brenda Locke.

The article discusses how arts organizations can create a board of trustees that can effectively lead and produce money. It says that this task is considered the hardest and most complex issue facing arts organizations. According to the author, some of the problems that emphasize the need for an effective board include ownership, tension between the board and the artistic leadership with regards to the artistic mission and increasing deficits. The responsibilities of volunteer community leaders and the roles of board members are also mentioned.

The article discusses the relationship between early feminist practices and socially engaged art. It mentions the role of feminist artistic practices in connecting to and promoting several era-defining artistic modes of postwar art history, several notable artists in socially engaged art including Theaster Gates, Mark Bradford and Nato Thompson and their ties with Chicago, Illinois and the use of handcrafts in the service of social justice in the city.

An interview with artist Robert Walden is presented. He states that he chooses to call his drawings as maps because the concept of map exists in every society. In some cases, he says that he thinks about specific places that he have visited while drawing. He mentions that the Santa Fe Institute is a link on his website.

A directory for "Art Papers" editors in the U.S. is presented.

A questionnaire for the 1993 Readers' Survey of the "Art Papers" journal is presented.

The article lists the back issues of "Art Papers," including the interview with William Wegman in the May/June 1980 issue, report on MARTA public art commissions in the September/October 1980 issue, and the feature article about Martin Emmanuel in the November/December 1980 issue.

The article discusses the need for small arts organizations to develop a new organizational structure to replace an inefficient traditional structure. It says that it is necessary to undo and change some old concepts and notions in order to solve the problem. According to the author, the problem lies in the fact that these groups have yet developed a structural approach that is appropriate to the small arts organization. He adds that it is very important to understand the true needs of the artists and to develop a framework for synthesis.

The article offers information on the 19th Annual Art Papers Art Auction held in 2018, featuring artworks from artists such as Alejandro Aguilera, Beverly Baker and Amelia Carley.

An interview with U.S. artist Alan Shields is presented. He discusses the evolution of his paper works into three-dimensional objects. In printmaking, he describes the kind of serialization evident in his works and emphasizes that he calls them monoprints. He also gave an explanation on the message that he was trying to convey in his works entitled "Result Dirt" and "Bloody Wire."

The article announces appointments to the board of directors for Atlanta Art Papers Inc. which include Genevieve Arnold, Rob Berling and Jane Bickerton.

Information about the topics discussed during the States of Art Criticism conference that was held at the School of the Art Institute of Chicago in Illinois in October 2005 is presented. Art historian James Elkins had examined several issues, including the role of critics, the specifics of criticism and the distinction between art history and theory. In addition, James Panero, associate editor of "The New Criterion" journal, had delivered a lecture "Why Art Critics are not Your Friends."

An introduction to the July 1985 issue of the magazine "Art Papers" is presented.

The author reflects on the problems of producing a regional art magazine as of 1983. She argues that the major difficulty of regional art publishing lies in the size of the audience, which is less than 10,000 subscribers in Southeast America. She believes that the closure of city's artist-run spaces is a general trend, especially in the regions where government funding has had a major effect. She also relates her belief that "Art Papers" will remain in service to art and artists of the Southeast.

The article presents an obituary for artist Mildred Thompson.

An interview with Laura Lieberman, former editor of "Art Papers" and Dan Talley, gallery director of the Atlanta Art Worker's Coalition (AAWC) is presented. Lieberman says that she was struck by how incredibly ambitious the staff of "Art Papers" were at the start of its publication and its objective of defining what the art scene was and what it could be. Tally says that the people of Atlanta, Georgia needed to be aware of what was going on in the art scene during the 1970s.

The paper "An Interrogation Into "Authentic Form" as Subversion/"The Double Sessions": Crossings, Transgressions, and Reversals as the Authoritative Paradox in Walter Pater's "Aesthetic Poetry" and "Architectural Environs," by Jay Fellows from the periodical "Art Papers".

An introduction is presented to the book "the Hugo Victors" by Edward Austin Hall along with information on the review of the website "bladerunnerunicorn.com" for making unicorns in paper and step-by-step instruction for making the blade runner unicorn using paper, scissors and glue.

The article discusses the Paper Monuments, an organization dedicated to individuals who committed to supporting the culture and infrastructure of New Orleans, Louisiana, organized by Sue Mobley and Bryan C. Lee Jr. Topics covered are the goal of the organization to improve the understanding that art tells silenced stories, installing posters highlighting local heroes and groundbreaking moments and brief history of the Civil War, slavery and civil rights in Louisiana.

A classified advertisement in the July-August 1996 issue of "Art Papers" is presented.

A conference paper about Cuban art is presented from the "Art in Context: Rethinking the New World" forum in Atlanta, Georgia. It discusses the operative characteristics of Cuban art that remained in play. It also features the difficulty in defining the real art of the country because massive migration of Cubans to other countries.

A conference paper on the depiction of culture in museum exhibitions from the lecture series "Art in Context: Rethinking the New World," in Atlanta, Georgia is presented. Specifically, it examines the exhibits through which museums, galleries and festivals define cultural diversity. It also illustrates the political nature of the artistic process.

The article examines the role of Cristobal Colon as an object in the cultural studies of postmodern Latin America. His figure has crossed the borders of genres and disciplines, from his own administrative correspondence, daily navigational records and litigation papers to the representations of him by court ambassadors.

The article profiles painter Emma Amos. The author reports that Amos' paintings, which feature women, animals and figures in fields, have been exhibited from New York to California and Italy to Sweden. According to the author, Amos has paid homage to her Atlanta, Georgia roots by focusing on race and class themes in her works. These include a series of ten large monoprints with photographs on rice paper called "Odyssey" which presents a powerful narrative imagery.

A personal narrative is presented which explores the author's experience as the former editor of the journal "Art Papers."

The article presents a reprint of the article "On the Limitations of the Missionary Position: Problems of Regional Art Publishing," by Laura C. Lieberman, which appeared in the November/December 1983 issue of "Art Papers." In the article, the author discusses the usual problems of art publishing, which she claims is generally a missionary job. She also cites the views of several individuals on the issue, including Derek Guthrie of "The New Art Examiner" and Frank Hodsoll.

The article presents news briefs related to the art industry. Peter Morrin assumes directorship of the J.B. Speed Museum in Louisville, Kentucky on August 1, 1986. The Mint Museum of Art in Charlotte, North Carolina features the exhibition "American Works on Paper" from June 14 to August 31, 1986. Financial grants are being awarded by the Pollock-Krasner Foundation Inc. to visual artists.

Several letters to the editor are presented including a response by Martha Rosler to Donald Kuspit's criticisms against him in the context of the magazine's "Critics Column" another one commenting on the "Southern Experiment" critics forum and one discussing problems concerning "Art Papers" which include the magazine's representation of a reformist/alternative-artspace perspective.

The author appeals to readers for help to improve the income of the nonprofit magazine "Art Papers." Accordingly, people can consider becoming a Friend of Art Papers with a donation. It says that readers can also participate in the "No-Show Ball" by sending a paper doll to the party in their place and that the tickets in the event cost $10.

The article discusses the highlights of the conference, Southern Experiment: A Critics Forum, held in Atlanta, Georgia in 1985. Atlanta Art Papers Inc. organized the conference to generate critical dialogue among artists, critics and the public about Southeastern art. Some of the critics invited to discuss the role of criticism in American art include Martha Rosler, Virginia Rembert and Margaret Miller.