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Vusumzi Nkomo

A feature by Vusumzi Nkomo

The softness of things: An interview with Mongezi Ncaphayi

A review by Vusumzi Nkomo

Ingestion and structural antagonisms: Johannes Phokela’s ‘Only Sun in the Sky Knows How I...'

A review by Vusumzi Nkomo

Cartographic Entangle­ments: Nolan Oswald Dennis’s ‘conditions’

A feature by Vusumzi Nkomo

Black & Blue: On Khanyisile Mawhayi and Sabelo Mlangeni

A review by Vusumzi Nkomo

Radical (anti)citizenry: Meschac Gaba’s ‘Citoyen du Monde’

A review by Vusumzi Nkomo

History is happening: ‘The thing itself exists everywhere’ at blank projects

A review by Vusumzi Nkomo

The Time of Waiting: Senzeni Marasela’s ‘Waiting for Gebane’

A review by Vusumzi Nkomo

Carving Otherwise Futures: Jackson Hlungwani’s ‘Alt and Omega’

A review by Vusumzi Nkomo

New Lands: Asemahle Ntlonti’s ‘Nothwala impahlana’

A review by Vusumzi Nkomo

Black to the Fullest: Musa N. Nxumalo’s ‘We Are Running Out Of Hashtags!’

A review by Vusumzi Nkomo

Portals to the Source: Pitika Ntuli’s ‘Azibuyele Emasisweni’

A review by Vusumzi Nkomo

Ontological Recuperation: ‘Authenticité’ at Goodman Gallery

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Richard Mudariki, Grilled, 2014. Chine-colle etching, 34 x 41 cm

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