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A review by Ashraf Jamal

Thread Count: ‘Sans’ at OPEN 24 HRS

A review by Nkgopoleng Moloi

Comfort with Unknowing: ‘Speculative Inquiry #1 (On abstraction)’

A review by Misha Krynauw

Early Christmas: Fanie Buys’s ‘Happy Birthday Jesus!’

A review by Dave Mann

Weaving the Nest: Tanya Poole’s ‘Ancient Codes’

A review by Thuli Gamedze

Away from Zero: Carrie Mae Weems’s ‘Over Time’

A review by Lucienne Bestall

Once More, With Feeling: William Kentridge at Zeitz MOCAA

A review by Isabella Kuijers

Listening to Paintings: Misheck Masamvu’s ‘Hata’

A feature by Michael Smith

Turning over the the Turbine Art Fair

A review by Keely Shinners

How To (Re)create Mitchell Gilbert Messina’s ‘Sure Thing!’

A review by Tymon Smith

Necessary Discussions: Sue Williamson’s ‘That particular morning’

A story by ArtThrob Editors

Spotlight on FNB Art Joburg 2019

A review by Misha Krynauw

Rebirth and Recalibration: Nobukho Nqaba’s ‘Izicwangciso Zezethu’

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Willem Boshoff, Political Candy Floss, 2009. A hand-printed single-colour Drypoint etching on Hahnemuhle Natural White 300gsm, Each: 78 x 106 cm

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