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.

Williams draws on her background in dramaturgy to envision a space that accommodates the biopolitical economies that inform how movement might be read. Looking at the interconnections between popular culture and myth, she relates in her work anatomy, regions of Black diaspora, and communication and obfuscation. Williams's body of work shapes an alternative language that examines how Black moving bodies are regarded. Williams continues to make visible the inexpressible violence Black bodies have been subjected to in dance and beyond. Featuring contributions by the curator of 52 Walker-a David Zwirner gallery space-Ebony L. Haynes and the artist and writer Hannah Black, and a stirring conversation between Williams and the choreographer Okwui Okpokwasili, the book serves as an extension of the exhibition. Included are high-quality illustrations of the artworks alongside rich archival materials. - About Clarion Series The Clarion series of illustrated publications is positioned as an extension of each exhibition at the groundbreaking gallery space 52 Walker, curated by Ebony L. Haynes. The program focuses on showcasing conceptual and research-based artists from a range of backgrounds and at various stages in their careers. The series title is derived from the Clarion Science Fiction and Fantasy Writers' Workshop, the oldest of its kind, at the University of California, San Diego. Octavia Butler attended this workshop in the 1970s. Both she and her work have been extremely influential in many cadres of Black culture and subculture. With a sleek design influenced by encyclopedias, each publication will feature color reproductions of the works on view, alongside an introduction by Haynes, commissioned essays, artist texts, archival material, and more.

The third title in the Clarion series features Amsterdam-based artist Nora Turato and her vibrant enamel panels that magnify the omnipresence of text, design, and speech in our contemporary culture. ---------- “Meticulous as Helen and tricky as Odysseus, the artist invites us first to misread the slick surfaces and humor of her works as effortless, then forces us to attend to the laborious practices they belie, the histories and possibilities of that effort.” — Art in America ---------- Originally trained as a graphic designer, Nora Turato adapts text to subvert and create messages. Although many of Turato’s performances and works appear to be drafted by free association, she meticulously and thoughtfully edits them to evoke a sense of alluring confusion. In three signature murals with a bespoke typeface, Turato addresses the inundation of language, typography, and graphic design in our contemporary culture, whether in the news, on social media, or in advertisements. Published on the occasion of Turato’s widely popular exhibition govern me harder at 52 Walker, this publication features texts by Ebony L. Haynes and Anna Kats. Serving as an extension of the exhibition, performance scripts by the artist are also included in this publication. As described in The Brooklyn Rail, “In the slick sea of graphic smoothness and language lost from meaning, something has still been irrefutably made.”

Tau Lewis’s mythical sculptures create elaborate portals into fantastic worlds “At 52 Walker, artist Tau Lewis transmutes the lifeblood of scrap objects into something sanctified. . . . I’m reminded that an art gallery can also be a temple.” — New York Magazine Following her acclaimed presentation Divine Giants Tribunal at the 2022 Venice Biennale, Lewis has continued to create anthropomorphic forms inspired by those in Yoruban mask dramas—ones which are spiritually activated by the wearer and the audience and, by extension, their community. Conversing with spiritual and ancestral pasts, Lewis’s works reinvent and reconsider narratives of Greek myths, theater, and death. In this body of work, the artist reexamines apocalyptic themes as an opportunity for reconstruction and transformation. Documenting and expanding on Lewis’s exhibition at 52 Walker titled Vox Populi, Vox Dei, this catalogue contextualizes the artist’s narrative investigations. Poetry by the multidisciplinary artist and activist Yves B. Golden complements Lewis’s otherworldly motifs. With a curator’s note by Ebony L. Haynes, this publication also features an essay by Tiana Reid that explores Lewis’s practice, drawing connections that range from Wole Soyinka to Frederick Douglass.