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The article discusses the social foundation of art. It examines the works of Daniel Buren, Richard Serra and Anselm Kiefer to show how a shift in viewpoint changes the aspects of an artwork. It also highlights the flexibility of an analysis based on multiple functions through an in depth analysis of artists like Robert Peters, Gerda Meyer Bernstein and Esther Parada.

The article discusses the challenges in art criticism. It states that art is serious and difficult because it poses questions which are not answerable in more than one sense and all at the same time. It also mentions that since art resists logic and science, it is hard to judge whether a work of art is good. According to the article, people may resist the challenges in criticism because they look at art as a relief from complexity.

An interview with artist and political organizer Juan Sanchez is presented. He explains the role that political art plays in reflecting society and a cultural entity. He cites that the 1980s reaffirmed the notion that art is politics, society, and culture. Sanchez describes himself as a formalist when creating art that seeks to bring out the beauty of humanity and opposes man's inhumanity against man.

An interview with Native American artist and activist Jimmie Durham is presented. He cites his confusion on the relationship between political activism and art. He asserts that he does not do art to destroy the system or to be subversive. Durham believes that it would make sense and be more strategic for artists to make and share their art in society and not confine it to a studio. He explains the importance of humor in his artwork and being careful about overdoing it.

The article discusses issues related to art criticism. It states that while art critics approve folk tradition, they maintain that this should not be treated as art. They also believe that multicultural art should be regarded as art and be judged based on its quality. According to the article, the role of art critics today is not only interesting, but also important.

The author, who is a critic and AIDS activist, discusses the significance of art criticism in the community, as he waits to get arrested at a national AIDS demonstration in the Bronx, New York City. The author states that he has witnessed many deaths and violence which prompted him to find his role as an objective critic. He mentions that as people get scared of the art community's new political voice attack the art world, critics should live up to their true potential as alternative chroniclers.

The article discusses the depiction of sacredness in postmodern art based on an understanding of the writings of Mircea Eliade, a philosopher and writer. It states that when modern artists depict sanctity in their work, they attempt to replicate old ideas in a current setting. Eliade explained this as an attempt to preserve the past in a current setting, which paves the way for newer forms for the future. The author argues that postmodern art, however, cannot be interpreted in this way because it has neither a unified structure nor philosophy.

The article discusses the development of art in western societies. It states that in Socrates and Plato's time, artists questioned traditional religion. The arrival of Christianity saw a belief in an end time, while the Renaissance, between 1400 to 1630, marks the beginning of the scientific revolution. This last is said to be the most important as it influenced the rest of the world through the expansion of western culture. It claims that modern art has lost a connection with a sense of meaning, becoming destitute, and suggests another change to come.

The article reflects on developments in sculpture in the 1970s. It suggests that political and social conditions in the late 1960s influenced changes in sculptures. Two trends were observed at the time, which include the transfer of the sculptor's working area to outside of the studio, and the display of the finished piece outside the traditional museum setting. The article also discusses how sculpture began to be developed unattached to architecture and structures, and cites works by Michael Heizer, Dennis Oppenheim and Robert Smithson as examples.

The article discusses issues related to public art. It states that "art in public places" involves art which is not designed to address the social context in which it is placed, while "public art aims" to deal with the qualities of the public realm which is composed of individuals with different desires and needs. According to the article, public art is often temporary which provides greater freedom for artists.

The article discusses the highlights of the "Artist's Intentions: Enduring Values/Discounted Goods" Mountain Lake Symposium X symposium in Virginia on November 3-5, 1989. Professor Maureen Sherlock talked about social space and the beauty of a twentieth century city. Writer Suzi Gablik discussed the social and environmental relevance of art. Donald Kuspit examined the avant-garde artist.

In this article, the author discusses art and its place in society in the context of limited resources and competition for public appropriations in 1989. He relates that he opted to defend art against a market that demanded definitions and outright delineation of cost and benefits, but did not understand or value the structural dislocations and meaning on which art thrives. The author suggests finding persuasive and convincing formulas that could turn the tide on the benefits, functions and purposes of art.

The author reflects on the "Arts on the River" art show in Savannah, Georgia. He states that the show failed to communicate or even consider Savannah's frightening secrets. He also notes that the show ignored present day horrors and this can be blamed on the artists who refuse to face the ills which may negatively affect the audience's perception of their works. He adds that from his observations, the art shows in Savannah and Nexus failed to communicate a balance between the good and evil forces that affect human existence.

The article discusses the disparity between the way art is taught in schools today and the way it is produced. It uses the word disarray to describe this dichotomy, both between theory and practice, as well as between artists and theorists who study art. It claims that just as a university can teach art, and in doing so, regulate it, so it can act as a barrier toward artistic expression. It states that this is most true where modern art is concerned, stifling exploration in favor of tradition, in turn producing prejudice and class barriers.

Several letters to the editor are presented in response to articles in previous issues including one about the inclusion of abortion as one of the topics at the AIDS Art Action show, and Amy Jinkner-Lloyd's review of the Mildred Thompson exhibit in the May-June 1990 issue.