ART PAPERS 29.02 - Mar/Apr 2005

This issue's three features converge to probe notions of performance and space. Fatimah Tuggar's digital montages re-envision the distribution of women's labor, the gendered allocation of spaces, and the configuration of African and Western relations with pointed precision in Digital Trafficking; Arakawa and Madeline Gins' concepts of the architectural body and reversible destiny likewise thoroughly reconfigure the body and its environment, as well as their boundaries and relations in From Clockwork Bodies to Reversible Destinies; Joel Weinstein's first-person take on Cuban artist Tania Bruguera's public intervention echoes the artist's resort to autobiography to address the histories and current relations of Cuban communities in Cuba and the United States in Art and Agitprop: Whose Ox Is It, Anyway?.