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.

For flavor-craving, art-loving, community-celebrating homecooks, the first cookbook from Lil' Deb's Oasis, a James Beard Award-nominated hotspot in Hudson, New York, serves up seventy tropical comfort" recipes, alongside musings on wine, music, love, sex, friendship, and fashion. When Carla Perez-Gallardo and Hannah Black first crossed paths in the Hudson Valley it was culinary kismet. Both had turned to the food world after art school, and their collaboration quickly evolved from popular pop-up dinners to the 2016 opening of their restaurant in Hudson, where they have created an oasis of pleasure and community, with nourishment and connection as the central tenets. In Please Wait to Be Tasted (a phrase posted in the restaurant's waiting area) home cooks are invited into the rainbow-colored world of Lil' Deb's Oasis via recipes steeped in "hot, sticky, juicy, moist fever-dreams of flavor," stories of the restaurant's origins as an art installation of kitschy visual delight, and all manner of advice-how to throw a tamale party or pen a wine poem. Recipes mesh deep respect for cultural traditions with a twist of irreverence-Sweet Plantains with Green Cream, Ceviche Mixto with Popcorn, Fishbone Soup, Charred Octopus in the Ink of Its Cousin, Whole Fried Fish, and Abuela's Flan-and are organized into chapters that align the many pleasures of Lil' Deb's with the throws of romantic encounters. A foreword by neo-soul singer-songwriter Meshell Ndegeocello attests to the love and magic of the food and friendship that has made her a regular at Lil' Deb's Oasis."

As a painter, filmmaker, and photographer, Ulrike Ottinger has created an entire artistic universe, a Cosmos Ottinger. Her transdisciplinary approach is groundbreaking today but Ottinger is also a pioneer of queer art, post-colonial criticism, and the confrontation with fascism and persecution. These questions are all still urgent today: How can we locate contemporary feminist, queer, and aesthetic debates historically? And how does one situate these debates in a museum setting? The catalogue, edited by the Kunsthalle Baden-Baden, documents this part of her work but also addresses these theoretical and art historical questions raised by Ottinger's searching and investigative approach.

When Hannah Black started writing her journal, she had no intention of sharing it with the world. She just wanted to write down her private thoughts and feelings like a normal teenage girl. However, as she wrote her daily activities she quickly realized that her story was different than most girls. Everything she thought she knew when she started writing her diary slowly changed until her old self was unrecognizable to her. A year after she finished her diary she decided to look into the possibility of sharing her story. Even though there were difficult times, she felt that God had given her these struggles for a reason. If her story can help one other girl come to grips with her teenage struggles, she will be happy. These are the unedited words that Hannah wrote in her diary between September 1st, 2012 and January 1st, 2013. We both hope you take away something positive from her story. Enjoy

Erro, Iceland s most prominent painter, receives long overdue critical attention for his contributions to international Pop, late Surrealism, and contemporary figurative painting in this sumptuous monograph. Since introducing exclusively source-image-based painted collage to the European Pop movement in 1959, Erro has produced an influential body of work mining cartoons and art history on canvases marked by political satire and his own cheerfully dystopian observations of human nature. Prescient and timely, Erro s paintings are marked by a voracious consumption of imagery synthesizing a hallucinatory vision of contemporary visual culture. Often compared to Andy Warhol, James Rosenquist, and Roy Lichtenstein, Erro s multifigure narratives, refusal to commit to a singular style, and obsession with cartoons set his practice apart. An essay by Ruba Katrib connects Erro to today s figurative-painting practices, and a chronology by Danielle Kvaran traces his wild figurations of history and subjects, ranging from Winston Churchill to contemporary music icons. Newly photographed details and a concentration on Erro s canvases of the last ten years offer a fresh perspective to his European audience and a welcome introduction for his American one.