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A review by Misha Krynauw

Effulgent Presence: Fanie Buys’s ‘Miss’

A feature by Nicoletta Michaletos

Burden of Context: Zanele Muholi at Tate Modern

A review by Annabelle Wienand

Erasure and Clarity: Jean Brundrit’s ‘Over the Horizon’

A review by Noah Swinney

Bricolage and Schizophrenia: Stevenson’s ‘Studios’

A feature by Ashraf Jamal

Two Nights in Joburg: On Pauline Gutter, Michael MacGarry, and Boemo Diale

A review by Keely Shinners

Caught in a Boundary: Wim Botha’s ‘The River’

A feature by Barnabas Ticha Muvhuti

Endless Journey: on Senzo Shabangu’s Landscapes

A review by Lukho Witbooi

Earth and Self: Michele Mathison’s ‘Over and Over’

A review by Nikita Keogotsitse

Material Frequencies: Paul Maheke’s ‘Vanille Bleu’

A review by Vusumzi Nkomo

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

A review by Tim Leibbrandt

Borgesian Beauty: Kyle Morland’s ‘variations on a lofted bend’

A review by Misha Krynauw

Mutual Mourning: FAITH XLVII’s ‘CHANT’

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Clive van den Berg, Cyber Erotics, 2009. A two colour lithographic print on BFK Rives, 66 x 52 cm

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