Canadian artist Zoë Schneider’s first American exhibit, The Whale, manipulated and repositioned items like fat suits, fat horror masks and inflatable prosthetic bellies to expose society’s fat bias and the objects’ implicit bigotry. Pittsburgh writer, advocate and sex worker Jessie Sage writes about how Schneider’s work impacted her.

Finding Alice, a conversation with C. Ryu and Lena Hansen C. Ryu, Alice and Alice: in Freefall (2023-2024), Film Still, 18:22, all imagery was produced by FLIR thermal technology When I saw C. Ryu’s Alice and Alice: in Freefall, I was taken to a place of uncertainty and fear. Lines between fact and fiction blurred […]

by Jenna Peng | I’ve been feeling like I’m back in Florida—a place where I felt no continuity of becoming, yet I went incessantly on. The wetlands, the orange houses, the there-and-back trails with Spanish moss swaying in a single slow motion. My mom loves the moss, like a storybook, she said. I love this […]

Holding Still Grounding the personal and political in The Front Yard by Bryan Martello | an essay by Helen Trompeteler | A long time ago, when my partner and I started to seriously imagine a life together, we would daydream aloud about what kind of garden we would have – vegetables at the back, courgettes, […]