Immersing the audience in sound and light Nikita Gale's END OF SUBJECT subverts understandings of viewership by prompting spectators to question their subjecthood within 52 Walker's site-specific installation. Creating an aurally and visually rich environment, Gale engages with the architecture of the surrounding space, stimulating all senses through site-specific installation and muses on the boundaries of performance art. Considering and fracturing the physical space of the installation, the artist employs abolitionist ideology and institutional critique to simultaneously rupture and rebuild facets of the art institution. With an introduction by Ebony L. Haynes and a suite of poems by Harmony Holiday, this publication considers Gale's multidisciplinary approach to address historical hierarchies of visibility. A text by the esteemed artist Andrea Fraser offers reflections on the various interventions at play during a gathering held in the exhibition.

Essays, criticism, and performance scripts written between 1985 and 2003 by an artist whose artistic practice investigates and reveals the social structures of art and its institutions. Andrea Fraser's work, writes Pierre Bourdieu in his foreword to Museum Highlights, is able to "trigger a social mechanism, a sort of machine infernale whose operation causes the hidden truth of social reality to reveal itself." It often does this by incorporating and inhabiting the social role it sets out to critique-as in a performance piece in which she leads a tour as a museum docent and describes the men's room in the same elevated language that she uses to describe seventeenth-century Dutch paintings. Influenced by the interdisciplinarity of postmodernism, Fraser's interventionist art draws on four primary artistic and intellectual frameworks-institutional critique, with its site-specific examination of cultural context; performance; feminism, with its investigation of identity formation; and Bourdieu's reflexive sociology. Fraser's writings form an integral part of her artistic practice, and this collection of texts written between 1985 and 2003-including the performance script for the docent's tour that gives the book its title-both documents and represents her work. The writings in Museum Highlights are arranged to reflect different aspects of Fraser's artistic practice. They include essays that trace the development of critical "artistic practice" as cultural resistance; performance scripts that explore art institutions and the public sphere; and texts that explore the ambivalent relationship of art to the economic and political interests of its time. The final piece, "Isn't This a Wonderful Place? (A Tour of a Tour of the Guggenheim Bilbao)," reflects on the role of museums in an era of globalization. Among the book's 30 illustrations are stills from performance pieces, some never before published.

After entering a house where a commotion has been overheard, two community police officers make a horrific discovery. Detective Inspector Olivia Hardy and Detective Sergeant Lauren Groves are dispatched to investigate, triggering a major investigation which ends up with Hardy being usurped as Senior Investigating Officer. It's yet another problem for Hardy, as she already suspects that husband Hal is having an affair. Meanwhile, as Groves descends into alcoholism after her husband's desertion, both officers' lives seem to be spiralling out of control. When a baby's body is found at the back of the police station, Hardy takes the unpleasant case, determined to succeed and show the world she's still capable - but things don't turn out exactly as planned... The second in the Fine Line series of gritty detective novels by acclaimed author Andrea Frazer.

From the sublime to the ridiculous This pairing of stories certainly seems to cover that statement, with a story set in Hades and steeped in sin, alongside one about the season of goodwill to all and general happiness. I like the contrast. I hope you do too. The Best Christmas Ever Christmas Eve has arrived and the whole world, it seems, is intent on doing the very last of the last-minute Christmas shopping. In some, the day brings out unexpected acts of kindness, where others are left unmoved. This story views the day through the eyes of a 'gentleman of the road', shuffling his way from an early morning rude awakening to a magical end as the day draws to a close. Miss Goody Two-Shoes and the Devil Tongue firmly in cheek, and sprinkling spilt salt over her left shoulder to ward off evil, Andrea Frazer takes us on a trip to Hell, where the daily grind (and groan) is about to be interrupted by a very rare event. A pebble plinks on the vast black glass dome that serves Hell and it's environs as a sky, a precursor that there is trouble in the earthly realm. The Devil is incensed as he realises that there is 'one without sin' abroad: a situation that calls for immediate action of the most radical kind, if he is to save that soul from purity and sully it with hellish deeds

A bored Sebastian Snail decides to look through all the junk in the attic of his stately home, Pail Manor. As he sorts through things long forgotten, he finds an old family map which, to Sebastian's eyes, looks like a treasure map. Along with his friend, Caruthers Caterpillar, he hatches a plan to find the family treasure, but without interference from his snooty butler, Snodgrass Hopper. And so, secretly, they set out with the map, with no idea of what lies ahead of them

Sebastian Snail has just finished decorating his hall. After he has scrubbed his shell clean, he decides he has done a magnificent job, and ought to advertise his services and good taste to others who would like to transform their homes. What he fails to realise is that his hall only looks fantastic because of all the hard work his butler Snodgrass Hopper has put in, while Sebastian is soaking in a nice bubbly bath. With his oldest and best friend, Caruthers Caterpillar, in tow, the over-confident snail starts another job that could land them in big - and expensive - trouble.

Sebastian Snail was bored. As usual But when his oldest and best friend Caruthers Caterpillar had ALL his boots stolen from outside his house one night, Sebastian realised that this was a job for Sebastian Snail - Private Detective. Bobby Bluebottle, the Meadow Lea policeman, is more interested in his newspaper than catching criminals, so Sebastian decides to interview any insects who might have noticed or heard something unusual. His clever mind soon works out what happened, but will he be able to catch the culprits?

The Ear-Noz had now settled in with the Barraclough family, but as the year moved into December, they discovered that he had no idea what Christmas was. He didn't know any Christmas carols - in fact, he didn't even know how to sing He didn't understand presents, and had never even seen a Christmas tree before - or snow There was so much to teach him that Daniel and Emma were constantly busy teaching him and showing him things. But Mrs Barracloough had one great worry - Grandma and Grandpa Millar were coming for Christmas What on earth could she do to keep their weird house-guest a secret?

Sebastian Snail is a very bored snail, and has always wanted to be famous. At Halloween, after throwing a big party for all his friends and neighbours, he decides to go ghost hunting with his best friend, Caruthers Caterpillar. At dead-of-night, they set off into the dark, in search of witches and ghosts, and things that go bump in the night And they're headed for Halloween House - a house that is said to he haunted.....