Bob Dickinson surveys the rise of authoritarian rule and charts feminist art practices that resist such forces.

Laura Harris claims that the Levelling Up programme is a sham and Morgan Quaintance argues that Chris Ofili’s ‘Requiem’ for the victims of Grenfell Tower was compromised from the start.

Sarah E James discusses her article on cultural censorship and exclusion of Palestinian and pro-Palestinian voices in the arts and beyond, with the artists Jumana Manna and Larissa Sansour.

Michael Hampton argues that auto-destruction is the default condition of all visual art.

Anna Dezeuze discusses whether it is possible for art to turn the tide on ‘alt-right’ conspiracy theories, and Maria Walsh explores the work of Lebanese artist filmmaker Ali Cherri.

Matthew Bowman goes in search of lost experience in the commercially co-opted field of immersive art and Bob Dickinson argues that citizen artists can intervene to halt the seemingly inexorable process of gentrification.

Sophie J Williamson assesses the turn towards art-food practices, particularly fermentation, and how these can be politicised to counter societal decay, and Bob Dickinson argues that it is time to repair the damage done by rampant individualism, the hallmark of both modernist and neoliberal cultures, which has undermined social cohesion in art and society.

Susan Jones analyses the way funding models continue to exploit artists’ labour and Stephanie Bailey discusses the work of Beijing-based artist Wang Tuo. Presented by Chris McCormack.

Colin Perry discusses the earth work of contemporary artists and its differences from Land Art of the past or eco art of the present.

Larne Abse Gogarty critiques the return of figurative painting and Rebecca Jarman reports on the São Paulo art scene.

Greg Thomas reports on the artists’ huts of Scotland’s Bothy Project and Sophie J Williamson discusses artists who target the excesses of extractive capitalism.

Morgan Quaintance discusses the dichotomy between the art world’s competitive pitching of artists against each other and its proclamations of nurturing care.

Martin Holman reports on a major Arte Povera survey exhibition in Paris and Mimi Howard discusses the issues around gallery presentation of video art in the age of the smartphone.

Chris Fite-Wassilak on artists who make use of fungus as a pointed form of institutional critique; Chris Hayes argues that we need to re-engage with anticapitalist thinking about technology.

Emily Rosamond discusses online reputation warfare, Juliet Jacques reports on Manifesta 14 in Prishtina and Lucia Farinati reviews a show by Italian feminist artist group Le Nemesiache.

Ellen Mara De Wachter and Dave Beech discuss the ‘Carolee Schneemann: Body Politics’ exhibition at the Barbican and Maryam Jafri’s artist’s book ‘Independence Days’.

Chris Hayes discusses the problems with Ireland’s proposed artist’s basic income scheme and Maria Walsh on the work of filmmaker Suki Chan.

Bob Dickinson discusses the ways in which artists have attempted to engage with the legacies of trauma.

Michaële Cutaya on the importance of surface over depth, and Chloe Carroll on the role of the monument.

Morgan Quaintance on the problems with Tate’s British-Caribbean exhibition ‘Life Between Islands’, Tom Hastings on performer SERAFINE1369, and Jack Smurthwaite on Danielle Brathwaite-Shirley’s solo show at Arebyte.

Bob Dickinson discusses ‘Art and Dyschronia’, his essay where he warns that our concern for the future should not distract us from what is happening to the past at the hands of right-wing populist governments intent on rewriting history.

Maria Walsh & Chloe Carroll discuss the remote viewing of moving-image artworks during the pandemic and the work of Irish artist Sam Keogh.