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In politics and philosophy, the question of horizons, the vanishing point that is always out of reach, but provides direction and guidance, underpins utopic thinking. This is a strange phenomenon since, as Jodi Dean suggests, horizons are 'real' insofar as they exist both spatially and temporally. Dean invokes the Lacanian concept of the real to demonstrate how horizons are omnipresent, even when we are unable to see them. Here, we disagree with Dean. Rather than view them as a fixed and constant entity, with Deleuze & Guattari we agree that horizons, understood as spaces of possibility, must be constructed through communal enunciations of desire. Following Dean's (re)formulation of horizons alongside of Deleuze & Guattari's concept of desire, we propose that Foucault's idea of 'heterotopia', a real, but inverted and potentially uncomfortable counter-site, is a better schema for thinking the possibilities of arts education's horizon. This article thinks through the construction of other, emancipated, spaces of learning in arts education through the methodological approach of institutional analysis and the work done by the Institutional Pedagogy movement in post-war France. Drawing from this movement, the work of Fernand Oury and Aïda Vasquez and Félix Guattari, 'institution' here is understood loosely as anything that institutes forms of sociability. As such, institutional analysis seeks to radically transform institutions from within and without by creating spaces to facilitate the reconfiguration of desire. Our analysis will be grounded in our own pedagogical practices in universities where we have made use of the techniques of Institutional Pedagogy.

Adult education in art galleries sits on a fault line, at once an apparatus upholding the affirmative aspects of museum culture cultivated by global elites, a propellant in the whirring of an increasingly dislocated set of events on trendy and consumable political themes, and a site for 'allyship' and other kinds of radical and socially transformative work. Resurrecting Hannah Arendt's question, 'where are we when we think?' this paper explores how we might move from a moment in which the 'space' of the gallery is replaced by the 'time' of the event (Helguera) and towards embedded space-times that attempt to address contemporary urgencies through situated practices that collectively analyse and respond to conditions. Drawn from examples derived from the author's practice, the paper argues for the use of popular education and anti-colonial pedagogies in the production of adult education in galleries, suggesting that such processes support groups in collectively naming and thinking through conflicts to re-shape both the galleries in which they have congregated and the worlds beyond their doors. This paper suggests that the re-construction and use of the often forgotten genealogies of emancipatory education are pivotal to doing social justice work in galleries.

In 2008, just as the movement of the precarious seemed to be winning one political battle after the next, the fight against precarization suddenly dwindled. The cycle of struggles of the precarious that began in 2000 had seemingly come to an end. Ironically this was also the moment that precarity as a concept became widely known in popular opinion, media commentary and academia. This paper focuses on the movement of the precarious from its inception in the early 2000s to its decline in 2008 and its reappearance in response to the economic crisis through the widespread mobilizations for "real democracy" between 2008 and 2014. Drawing from our experience as participants in the movement of the precarious, and theoretical discussions that have shaped the politics of the movement, the paper adopts a retrospective approach to investigate the metamorphoses of a consciousness of precarity and of the underlying organizing practices that lead to its demise and subsequent incarnations. It reconstructs precarity as theory in action that lives through the organizational ontologies of the movement of the precarious. [ABSTRACT FROM AUTHOR]

In the spring of 2013, the "Harvard Educational Review" ("HER") published a special issue entitled "Expanding Our Vision for the Arts in Education" (Vol. 83, No. 1). Following a variety of forward-looking essays and arts learner reflections concerning the potential of the arts in education, the issue concluded with a provocative scholarly article, "Why the Arts Don't Do Anything: Toward a New Vision for Cultural Production in Education," written by Rubén A. Gaztambide-Fernández, an associate professor in the Department of Curriculum, Teaching, and Learning at the Ontario Institute for Studies in Education at the University of Toronto. In this piece, Gaztambide-Fernández makes the case that advocacy for arts education is trapped within a "rhetoric of effects" because the arts, as we conceive of them in educational environments today, rely too heavily on instrumental and intrinsic outcomes while only shallowly embodying a commitment to, or a consideration of, cultural practice. Gaztambide-Fernández further argues that what counts as "the arts" is based on traditional, Eurocentric, hierarchical notions of aesthetic experience. According to him, this discursive positioning of the arts within traditional Eurocentric power structures complicates arts teaching and learning for arts educators, especially those committed to issues of social justice. As an alternative, he suggests discursively repositioning the arts within a "rhetoric of cultural production," positing that such a discursive shift would reconceptualize arts education as experiences that "produce" culture.

Questions posed to the panel regarding intellectual work and the division of labor in the academic and non-academic work of cultural studies is discussed. Notions of transmission that are re-framed in the project of cultural studies in relation to questions of participation to provide a framework about how cultural practitioners think with the public sphere are examined.