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A review by Zoé Samudzi

Evasive ambiguity: Claudette Schreuders’ ‘Doubles’

A feature by Lindiwe Mngxitama

Of opaque tongues and a poetics of abstraction: A conversation with Kamyar Bineshtarigh 

A review by Misha Krynauw

Mutual Mutations: Jonathan Silverman’s ‘Mineral Vegetal Digital’

A feature by Ashraf Jamal

Plus Ultra: Brett Shuman’s Signs and Sequences

A review by Lumumba Mthembu

Interrupting the Archive: Luvuyo Equiano Nyawose’s  eBhish’

A review by Georgia Munnik

Pulling Forces: Antonia Brown and Matheline Marmy

A review by Lukho Witbooi

Imaginal Renderings: ‘Seeing the Invisible’ in Kirstenbosch Gardens

A feature by Keely Shinners

Cape Town Art Fair: An Editor’s Diary

A review by Dinika Govender

Who Are We Now? ‘Liminal Identities in the Global South’ at JCAF

A feature by Vusumzi Nkomo

The softness of things: An interview with Mongezi Ncaphayi

A story by Artthrob

Spotlight on Investec Cape Town Art Fair: ArtThrob writers weigh in

A feature by M Thesen Law

On Love, Death, and the Divine: Reading Gitte Maria Möller’s work through the Major Arcana

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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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