Published to accompany National Gallery Singapore's inaugural exhibition Siapa Namu Kamu?, this catalogue presents a survey of Singapore art from the 19th century to the present, charting major themes across broad time periods. Over 400 works of art in a wide range of media are brought together to trace the ebb and flow of the history of Singapore art. Curatorial essays provide insight into the exhibition that considers the parameters of time and nation in relation to the history of art in Singapore.

The National Institute of Justice (NIJ) is the research, development and evaluation agency of the US Department of Justice. The NIJ is dedicated to improving knowledge and understanding of crime and justice issues through science. NIJ provides objective and independent knowledge and tools to reduce crime and promote justice, particularly at the state and local levels. Each year, the NIJ publishes and sponsors dozens of research and study documents detailing results, analyses and statistics that help to further the organization's mission. These documents relate to topics like biometrics, corrections technology, gun violence, digital forensics, human trafficking, electronic crime, terrorism, tribal justice and more. This document is one of these publications.

From November 2016 to August 2017, Vietnamese-born Danish artist Danh Vo, who often draws upon personal experience to explore broader historical, social or political themes in his work, presents a series of new sculptures at National Gallery Singapore as part of his first outdoor installation in Singapore. A continuation of his existing practice, the installation explores issues of cross-cultural identity and the definition of cultural values. This accompanying catalogue delves deeper into both Danh's practice as well as broader discussions surrounding cross-cultural identity through essays by leading scholar Professor Nora Taylor and Gallery curator Charmaine Toh, alongside full-colour images of the commissioned work.

Minimalism: Space, Light and Object is an expansive global survey of the movement's influential language of reductive forms, from its Abstract Expressionist colour field antecedents to Post-Minimalism, and how it continues to speak to artists today. In this timely re-evaluation, the contemporaneous Mono-ha movement, as well as experimentation in video, sound and performance are brought to bear on the Minimalist canon. This richly illustrated exhibition catalogue features essays by the exhibition curators and international contributors, along with conversations with artists, opening up a forum for contemporary readings of this dynamic, multivalent and pivotal movement.