KIKUJI KAWADA, CHIZU (MAQUETTE EDITION). London and New York, New York: MACK and The New York Public Library, 2021. 272 pages.

EARLY IN JULY 1958, the Japanese photographer Kikuji Kawada, then aged twenty-five and a staffer at the weekly magazine Shukan Shincho, visited Hiroshima for a cover story to run in the month following. He was there to photograph another photographer, Ken Domon, whose book Hiroshima had been published in the spring. Among Domon’s subjects: the scarred bodies of survivors of the atomic-bomb attack of August 6, 1945, and the skeletal dome of the city’s riverside industrial

Tabboo!, Tabboo! 1982–1988. New York: Gordon Robichaux/Karma Books, 2021. 140 pages.

ONCE UPON A TIME in the early 1980s, New York City’s East Village was cheap and scary, a petrified forest of desiccated industry. Among the ruins, fantastic creatures built worlds of fantasy and devised strategies to survive. They made themselves at home. One of these creatures was Stephen Tashjian, who had come to New York with a gaggle of friends, each full of promise, after graduating from the Massachusetts College of Art in Boston. Some were photographers: Mark Morrisroe, the prolific punk, and Jack Pierson,

Isabelle Graw, Three Cases of Value Reflection: Ponge, Whitten, Banksy. Berlin: Sternberg Press, 2021. 64 pages.

ISABELLE GRAW’S oft-cited 2009 book, High Price, which explores art’s economy of fame and prestige as the prototype for creative labor under capitalism, was published just after the collapse of a speculative bubble in the market for contemporary art. Now, roughly a decade later, Three Cases of Value Reflection: Ponge, Whitten, Banksy arrives contemporaneously with a series of meteoric high-dollar sales of NFTs (“nonfungible tokens”), a class of digital nonobjects that seems to reduce

N.H. Pritchard, The Matrix. New York, New York: Primary Information and Ugly Duckling Presse, 2021. 113 pages.

THE MATRIX is one of the most radical—and most important—books of poetry of the 1960s. It’s also one of the most mysterious. A new facsimile reissue of N. H. Pritchard’s first collection—along with DABA press’s republication of his only other book, EECCHHOOEESS (1971)—provides an opportunity to re-examine an extraordinary and extraordinarily neglected poet whose work continues to evade capture. Born in New York and of West Indian descent, Norman Henry Pritchard II considered attending

Deep Scroll, edited by Anne de Vries. Eindhoven, the Netherlands: Onomatopee, 2020. 380 pages.

DEEP SCROLL is a book for this precise mediated moment. It’s a chaotic journey in which the reader walks a tightrope between the real and the simulated, in which the old is repackaged as the new and we are driven to furious speculation over a multitude of speakers’ intents and ideologies. Artist Anne de Vries offers a mad pastiche of dense theory layered atop digital collages of his installation work from the past two decades. He sourced classic writings by Hannah Arendt, Alain Badiou, Manuel DeLanda,

The Tarot of Leonora Carrington, by Susan Aberth and Tere Arcq with an introduction by Gabriel Weisz Carrington. Lopen, UK: Fulgur Press, 2020. 120 pages.

THE VOICE OF ART EDUCATOR Jackie Armstrong emanates from my MacBook, guiding me through the vaulted chamber of Leonora Carrington’s painting And Then We Saw the Daughter of the Minotaur, 1953, acquired by New York’s Museum of Modern Art in advance of their 2019 expansion. The track is part of the museum’s Covid-era playlist “Artful Practices for Well-Being,” a series of audio tours that forgo didactic synopsis in favor of visualization and

Extra Ordinary: Magic, Mystery, and Imagination in American Realism, edited by Jeffrey Richmond-Moll and Philip Eliasoph. Georgia Museum of Art, University of Georgia. 2021.

THE SLIPPERINESS characterizing many literary and art-critical terms is in particular evidence around the oxymoronic genre of “magic realism.” While its narrowest definition—the inclusion of the fantastical within an otherwise realistic setting—can be useful when applied to specific examples of fiction or art, the label is often employed in ways so elastic as to render it meaningless. Extra Ordinary: Magic, Mystery, and

Disasters and Social Reproduction: Crisis Response Between the State and Community, by Peer Illner. London: Pluto Press, 2020. 208 pages. 

Mutual Aid: Building Solidarity During this Crisis (and the Next), by Dean Spade. New York and London: Verso, 2020. 128 pages. 

IN ONE OF photojournalist Margaret Bourke-White’s most iconic Depression-era images, a seamless, whitewashed vision of the good life is undercut by a segregated breadline. Tightly composed, the picture almost stages a return of the repressed, as material casualties of “the American Way” buttress—but also contravene—the billboard’s

The Hidden Mod in Modern Art: London, 1957–1969, by Thomas Crow. New Haven: Yale University Press, 2020. 200 pages.

THOMAS CROW’S NEW VOLUME, The Hidden Mod in Modern Art: London, 1957–1969, is a meticulous account of the imbrications between artmaking and stylemaking in postwar London, flanked by a jeremiad against what its author perceives as received ideas in contemporary art history. Indeed, Crow’s street-level method—we are treated to a litany of place names, hairstyles, and vivid descriptions of magazines—is part and parcel of his complaint: If art is to be meaningful, Crow seems to insist,

IN FALL 2020, artist Matt Keegan produced an artist book called 1996, a compendium of ephemera, essays, and interviews circling around the year in question, which Keegan sees as a tipping point for the American left—the moment its capitulation to neoliberalism was complete. It also happens to be the first birth year for Gen Z, whose members have recently begun populating Keegan’s art-school classes. In trying to come to grips with shifts in American electoral politics, ensure that key histories are passed on to posterity, and chart changes in queer identity, the book provides a nonfatalistic,

IN THE FIRST MONTHS OF QUARANTINE, my apartment became my personal ecosystem. The idiosyncrasies of daily life in isolation—the peculiar sleep hours, the midnight meals on the fire escape, the evening Scrabble ritual—felt entirely specific. And yet, with over half of the world’s population instructed to quarantine as well, these intimate idiosyncrasies were twinned with a totally novel feeling-in-common. When we are asked to “flatten the curve” or wear masks outdoors, we are asked to see ourselves as both individuals with agency and a collective whose influence is only made en masse. We are

A certain scene between Marguerite Duras and Susan Sontag, told to me by someone who was friends with both and seated between them while Susan was visiting Paris, goes like this: Duras had just made a new film, and, in keeping with her character, she spoke at Susan in a monologic séance, going on and on about herself, her new film, and critical reactions to her new film. After speaking for most of the occasion they were together, Duras suddenly quieted and seemed to notice Sontag qua Sontag, and not just any old audience to her tirade. “Susan! My goodness. I have only talked and talked, and I