The first monograph of a contemporary artist, whose work offers a look at the world from a different glance, refusing to be blinded by the conventions. Mounir Fatmi was born in 1970 in Tangier, Morocco and now lives and works between Paris and Tangier. He constructs visual spaces and linguistic games. His work deals with the desecration of religious object, deconstruction and the end of dogmas and ideologies. He is particularly interested in the idea of death of the subject of consumption. This can be applied to antenna cables, copier machines, VHS tapes, and a dead language or a political movement. His videos, installations, drawings, paintings and sculptures bring to light our doubts, fears and desires. Mounir Fatmi's work has been shown in numerous solo exhibitions and collective shows at the Centre Georges Pompidou, Paris, The Brooklyn Museum, New York, Museum Kunst Palast, Dusseldorf, Mori Art Museum in Tokyo, Museum on the Seam, Jerusalem, Moscow Museum of Modern Art, Moscow, Mathaf Arab Museum of Modern Art, Doha and the Hayward Gallery, London. Mounir Fatmi was awarded by several prize such as the Cairo Biennial Prize in 2010, the Urioet prize, Amsterdam and the Grand Prize Leopold Sedar Senghor of the 7th Dakar Biennial in 2006.

Victorian women in masks, sheep dominating young boys, hooded figures popping out of the long grass, demented cherubs and aroused attack dogs are just some of the darkly humorous figures that populate the work of rising New York artist Kent Henrickson. Employing many media and techniques--including drawing, embroidery on linen, wallpaper and sculpture--Henrickson produces rich and crafty artworks that create peculiar psychosexual worlds while balancing classical references with a contemporary sensibility. "There is an absurdist quality attached to my imagery, as boys become cloaked or as hooded executioners or young girls dance and play with ghosts while they themselves are bound. At first glance these scenarios appear to be completely inappropriate and preposterous, but upon further scrutiny they can allude to psychological games and/or individual power struggles." This first monograph features paper changes, lots of full-bleed images and a host of excellent essays and interviews.