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The article focuses on border art which analyzes the figurative capacity of an artistic artifact to encapsulate politically. It highlights the role of artists including Isaac Artenstein, David Avalos and Sara Jo Berman in claiming the designation of border art in the artist group "Border Art Workshop/ Taller de Arte Fronterizo" (BAW/TAF) in the year 1984. It discusses the deployment of border art by the securitization of international limits.

The article focuses on artworks made by migrants or about migration in several forms including canvas, stories and assemblies of objects carried in their journeys, as of December 2020. It highlights the impact of marginalization of migrants and exiles on the basis of race, class and gender on the process of migration. It also discusses the role of political borders and aesthetic orders on migrant arts.

The article presents the author's views on the influence of borders on theaters with reference to career of filmmaker Khaled Jarrar who born in Palestine and later flew to Germany. Various topics discussed include war condition in Palestine, refugees in theaters, art on borders and how theater promoted revolution.

The article presents an interview with Ioan Holender, the director of the Wiener Staatsoper opera company, just prior to his leaving the position in 2010. He is asked about which of his productions he is most proud, his book about his 19 years of work at the opera, "Ich bin noch nicht fertig," and his reception in Vienna when he arrived in 1959 as a political refugee from Romania. Also discussed are his plans for a future television show with him as moderator and guests from the arts, politics and science.

The article discusses the creation of the periodical "Lilliput." The periodical was created by Stefan Lorant after he and fellow refugee writers such as Ernst Toller and Arnold Zweig were influenced by the periodical "Coronet." The group established an office in London, England and began printing the magazine in 1937. Financial problems led to the periodical being purchased by Hulton Press. Political cartoons by artists such as James Thurber and Ronald Searle made the periodical a success.

An introduction is presented in which the editor discusses articles in the issue on topics including artworks made by migrants, phenomenon of migration and conditions of migration camps.

Presents several letters to the editor. Criticism of an article "Communication" by George Biddle published in the October 27 issue in which he ridicules of the modern European painters who have come in the U.S. as refugees, and scolds the Museum of Modern Art for extending them hospitality. Appreciation of the Museum of Art for extending hospitality to modern European painters; Objection on the method used by Biddle for his publicity; Response of Biddle to the comments made to his article.

The article provides information on how musicians and first-time filmmakers Zach Niles and Banker White conceptualized and implemented the making of the documentary film on the music band Refugee All Stars. They planned to tell a story about refugees in Western Africa by using music as the vehicle to tell the human story of struggle. They toured refugee camps across Western Africa playing music and entertaining refugees and at the same time tried to find refugee musicians who could potentially be the subjects of their documentary. It is in the Sembakounya camp in Guinea that they found the band Refugee All Stars. According to bandleader, Reuben Koroma music is like a healing power to the refugees.

The article focuses on the Latvian born Australian artist, Janis Feliks Senbergs. Topics include the brief overview of Senbergs' life highlighting his early experience as a child living in refugee camps and his eventual settlement in Melbourne, Australia, some of the early works of Senbergs including, Feeding the New Man, The Overseer, and A Detached Figure, and the artistic style Senbergs is employing in his artwork. Information of his exhibit in Melbourne, Australia is also presented.

The article discusses the impact of immigration, poverty and violence on the life of dancers, and states that many refugees are theater artists in Germany.

The article focuses on artists at the Venice Biennale in Venice, Italy whose experiences with their countries have shaped their exhibitions. The article discusses Chilean artist Alfredo Jaar, former architect and exile from the Pinochet regime, Kosovan artist Petrit Halilaj, a former refugee who escaped to Albania and artist Jeremy Deller from Great Britain, a country on the verge of change due to a referendum on Scottish independence scheduled for 2014.

The article features the rock band JJI Exile Brothers, three siblings whose music provides the soundtrack for a new movement among Tibetan young people. The brothers, bassist Jamyang, guitarist Jigme, and drummer Ingsel, were born in India and retain their parent's refugee status. Their music reflects the listlessness and unBuddhist anger of the lost generation, raised among drugs and AIDS in Dharmsala.

Features La Casa de Refugio or popularly known as House of Refuge for literary writer refugees in Mexico City, Mexico. Donation of the refuge house by the left-leaning city government; Inauguration of the house by novelist Salman Rushdie; Recognition of the city as the mecca for refugee writers.

The article accounts the venture of Australian Shannon Sheedy, who developed the fairtrade business Dharma Door, along with her encounter with refugees and selling fair trade goods. It mentions that Sheedy helped Tibetan refugees to sell their products by exporting them to Australia and patronized the products of disadvantaged people. Sheedy sold the handmade goods of disadvantaged people, which soon after it became a successful venture, with lots of consumers continuously buying the products.