German artist Florian Hecker, trained in psycholinguistics, produces multi-track, multi-language sonic installations that take listeners to the border between sense and nonsense, aural pleasure and pain.
It would seem that no object could be more at home in the center of the art world, more secure in its identity as art, than a painting. Yet stories in this issue by Kirsty Bell and Stephen Westfall highlight painters whose work remains productively out of step. Read more
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