Issue 42 of Afterall addresses the crisis of representation in contemporary art through the work of Pierre Huyghe and Tania Bruguera, reflecting on how they each intervene into biological and political systems. We also put a spotlight on the contributions of two lesser-known women artists Indonesian Arahmaiani and Egyptian Inji Efflatoun and their capacity to speak truth to power in their respective contexts. Finally, accompanying essays include Charles Esche on Chinese artist Li Mu, Diedrich Diederichsen on political art, and an interview with Walter Benjamin.

Launched in 1999, Afterall is a journal of contemporary art that offers in-depth analysis of artists' work, along with essays that broaden the context in which to understand it. Its academic format differentiates it from popular review magazines. Volume 48 is Afterall's 21st anniversary issue, in which the editorial team reflects on the journal's past though a series of reprints of contextual essays and artist features, together with new commissions that inform the present and future vision of the journal.

Launched in 1999, Afterall is a journal of contemporary art that offers in-depth analysis of artists' work, along with essays that broaden the context in which to understand it. Its academic format differentiates it from popular review magazines. In issue 47, featured artists are planned to include Gulsun Karamustafa, Armin Linke, Naeem Mohaiemen, and Araya Rasdjarmrearnsook, Thao-Nguyen Phan, and Anne-Mie Van Kerckhoven, among others.

Featuring the work of Lene Berg, Lucy McKenzie, Mary Ellen Carroll, Haegue Yang, and Lili Dujourie, Issue 34 examines artistic practices that address notions of cultural tradition while defying essentialist definitions of identity. Issue 35 looks at contemporary art's engagement with history through the work of Teatro de Vertigem, Tony Chakar, Olga Chernysheva, and Danh Vo.

Since its launch in 1999, "Afterall", a journal of art, context, and enquiry, has offered in-depth considerations of the work of contemporary artists, along with essays that broaden the context in which to understand it. Published three times a year, "Afterall" also features essays on art history and critical theory. "Issue 31" looks at artists working with or influenced by migration and cultural politics. Among the artists featured are Lukas Duwenhogger, Paul Chan, Pauline Boudry/Renate Lorenz, Ivan Kozaric, Sven Augustijnen, Almgul Menlibayeva, and Slavs and Tatars, all of whose work focuses on or traverses different art centers and peripheries. Cultural theorist Vassilis Tsianos contributes an essay looking at European migration in relation to the eurozone crisis. "Issue 32" looks at pictorialism today and its role as an artistic strategy. Artists featured are James Welling, Pae White, Simryn Gill, Ahlam Shibli, David Claerbout, and Saloua Raouda Chocair. Artist Trevor Paglen contributes an essay on image making as a form of communication, while film theorist Maxa Zoller writes about the haptic, or, what is excluded by a too-tight focus on visuality.

Since its launch in 1999, "Afterall", a journal of art, context, and enquiry, has offered in-depth considerations of the work of contemporary artists, along with essays that broaden the context in which to understand it. Published three times a year, "Afterall" also features essays on art history and critical theory. "Issue 31" looks at artists working with or influenced by migration and cultural politics. Among the artists featured are Lukas Duwenhogger, Paul Chan, Pauline Boudry/Renate Lorenz, Ivan Kozaric, Sven Augustijnen, Almgul Menlibayeva, and Slavs and Tatars, all of whose work focuses on or traverses different art centers and peripheries. Cultural theorist Vassilis Tsianos contributes an essay looking at European migration in relation to the eurozone crisis. "Issue 32" looks at pictorialism today and its role as an artistic strategy. Artists featured are James Welling, Pae White, Simryn Gill, Ahlam Shibli, David Claerbout, and Saloua Raouda Chocair. Artist Trevor Paglen contributes an essay on image making as a form of communication, while film theorist Maxa Zoller writes about the haptic, or, what is excluded by a too-tight focus on visuality.