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Interviews Rina Carvajal and Alma Ruiz, curators of the exhibition `The Experimental Exercise of Freedom.' Artists whose works were featured in the exhibition; Meaning of the exhibition's title; Challenges they faced in presenting the works and how they dealt with the artists; Information on several works in the show.

Proposes plans for a sequel to an exhibition of artists' works created on or attached to a blank piece of fine paper and displayed at the N.A.M.E. Gallery in Chicago Illinois in 1978. Number of participants; Final housing of irregular forms; Impact of restrictions of size and surface.

The article reviews "A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s-1980s," an exhibition of cellist and performance artist Charlotte Moorman featured at the Mary and Leigh Block Museum of Art in Evanston, Illinois January 16-July 17, 2016, the Grey Art Gallery in New York City September 8-December 10, 2016, and the Museum der Moderne Salzburg, Austria March 4-June 18, 2017.

An interview with Victoria and Albert (V&A) Museum curator Catherine Flood is presented. She discusses her work curating the exhibition "Disobedient Objects" which featured objects such as posters that were used in grassroots movements for social change. Other topics covered include how exhibition objects were labeled, curating methods, and the reception of "Disobedient Objects" by critics and museum visitors.

An essay is presented examining the influence of "Now You Can Go," a series of film screenings, performances, and forums held in London, England in 2015 dedicated feminist thinking, art, and activism from 1970s and 1980s Italy. Information is provided on the Italian feminist movement with particular attention given to the inspiration of poet and art critic Carla Lonzi and her book "Vai Pure."

The article discusses the travelling art exhibition "Leap Before You Look: Black Mountain College 1933-1957," which was held between 2015 and 2017 and featured works by artists including Josef Albers, Anni Albers and Ruth Asawa. The corresponding exhibition catalog, edited by Helen Molesworth and Ruth Erickson, is also reviewed.

The article discusses the traveling art exhibition and catalog "Hélio Oiticica: To Organize Delirium," which was held in 2016 and 2017 at locations including the Carnegie Museum of Art in Pittsburgh, Pennsylvania, the Art Institute of Chicago in Chicago, Illinois, and the Whitney Museum of American Art in New York City. The catalog features texts by authors including Lynn Zelevansky, Elisabeth Sussman, James Rondeau, Donna De Salvo, Adele Nelson, Guilherme Wisnik, Martha Scott Burton, Anna Katherine Brodbeck, Max Jorge Hinderer Cruz, Frederico Coelho, Sergio B. Martins, and Irene V. Small.

The article reviews several exhibitions and books on the work of photographer Lee Miller including "Lee Miller: A Woman's War" at the Imperial War Museum in London, England October 15, 2015-April 24, 2016, "Lee Miller" at the Walter Moser Albertina Museum in Vienna, Austria, and "Lee Miller" edited by Water Moser and Klaus Albrecht Schroder.

The article is based on a speech by artist Lorraine O'Grady, delivered during the exhibition "This Will Have Been: Art, Love and Politics in the 1980s," at the Museum of Contemporary Art and Columbia College in Chicago, Illinois on March 15, 2012, in which she discussed the catalog of the exhibition, modernism and her public artwork "Mlle Bourgeoise Noire."

The article discusses the word project and its wide use among artists, within the discipline of art, and in museums in an attempt to understand disciplinary and genre boundaries of art. Topics include the artistic aspects of museum exhibitions and curators as authors of art, the term project applied to museum spaces, as well as the term's appropriation of the administrative and bureaucratic language of management. Also discussed are video art in the 1960s counter-cultural movement as participatory art and the Museum of Modern Art's (MoMA) Projects series in New York City.

Several photographs of pieces of artwork from the exhibition "Debris Field" by Heather Mekkelson are presented.

The article focuses on the relationship between art and the unseen. It explains that in order to execute works of art, the artist must physically turn away from the subject to the representation of the object. The experience of blindness in contemporary art is explored in examples such as video art which project black screens. Art installations by Gonzalo Diaz, Terence Koh, and Bruce Nauman are examined for their ability to interact with the physiology of the audience.

The article focuses on the psychological and social aspects of being a spectator at an art exhibit. An exhibit by Michael Asher at the Claire Copley Gallery in Los Angeles, California in 1974 is discussed and interactive art by artists such as Daniel Buren and Bruce Nauman is explored. The audiences' response to exhibits is explored and the impact of the gallery or venue on the art is also analyzed. The terms spectatorial agency and institutional critique are used to explain the topics.

The article presents a roundtable discussion among the curators of the "Design Life Now: National Design Triennial 2006," exhibition on view at the Cooper-Hewitt National Design Museum in New York City, December 8, 2006-July 29, 2007. The discussion focuses on the state of contemporary design in the exhibition which includes a wide range of works such as architecture, fashion, and robotics.

Discusses the case studies conducted on the identity exhibitions "Magicien de la terre" and "Documenta II." Analysis made by Johanne Lamoureux of the inconsistency with which the selection criteria were applied in Magiciens; Inclusion of discursive spaces in Documenta; Interpretation of the white-cube aesthetic at Documenta.

Presents information on the relationship of artists Ana Mendieta and Carl Andre. Controversy surrounding the death of Mendieta; Information on the earth-body works of Mendieta; Venture into joint exhibitions by the couple.

Presents edited conversations between the curators, and some of the artists held during press previews of the exhibition 'Give & Take' in London, England in January 2001. Objective of developing the exhibition; Involvement of artist Ken Aptekar in the production of the exhibition; Lessons learned by the artists from the exhibition.

Focuses on the art installation Transformation Parlor by Carol Sun. Depiction of surfaces as `symbolic skins'; Victorian character of the parlor; Collision of comfort and fear embodied in the parlor.

Describes two photography exhibits created by the author. `ArchitorSpace,' which comprised of photographs of office environments; `Wishing Rooms,' which comprised of photographs of model rooms in interior design showrooms.

Discusses how artists Chantal Akerman and Vera Frenkel presented an altogether terrain in the site of the Holocaust that cannot be identified or anchored to any one location with a known political boundary. Description of Frenkel's installation, `... From the Transit Bar'; Details on the 1995 exhibition `Bordering on Fiction: Chantal Akerman's `D'Est.'

Focuses on an exhibition titled 'Art and Social Change, U.S.A.,' held at the Allen Memorial Art Museum in Oberlin, Ohio in 1983. Acknowledgment of Oberlin's tradition of social awareness; Performance of Candace Hill-Montgomery; Video art of Nancy Buchanan; Showcasing of the work of younger artists within a thematic context.

Focuses on an exhibition titled 'Art of Aztec Mexico: Treasures of Tenochtitlan,' held at the National Gallery of Art in Washington D.C. from 1983 to 1984. Showcasing of pre-Columbian art; Works that combined various dramatically modeled forms in three dimensions with complex low-relief imagery; Objects that plead the cause of the Aztecs in the name of art as a universal form of human expression.

Focuses on an exhibition titled 'Nuremberg: A Renaissance City, 1500-1618,' held at the University of Texas at Austin in 1983. Role of the German city of Nuremberg as the most important artistic center in the German-speaking lands; Ways in which the epoch of Durer was a high point for art in Nuremberg.

The article reviews the art exhibitions "Action Painting" at the Fondation Beyeler in Basel, Switzerland from January 27-May 12, 2008 and "Action/Abstraction: Pollock, de Kooning, and American Art, 1940-1976," at the Jewish Museum in New York City from May 4-September 21, 2008.

Describes a retrospective exhibition of drawings, paintings and sculpture by Louise Bourgeois at the Museum of Modern Art in New York City in 1982 to 1983. Forms invented by Bourgeois; Argument that the works of Bourgeois are as logical as the geometry of Port-Royal; Method of drawing construction; Continuity in the artist's work.

Focuses on an exhibition of the works of twentieth century artist Grant Wood, organized by the Minneapolis Institute of Arts in Minnesota in 1983. Aesthetic and educational value of the exhibition as a whole; Art's reinforcement of the Modernist bias; Showcasing of Wood's landscapes, decorations, illustrations and narrative paintings.