This publication showcases A Hard White Body, an evolving project by Candice Lin presented at B tonsalon--Centre d'art et de recherche, Paris; at Portikus, Frankfurt/Main; and at the Reva and David Logan Center for the Arts, University of Chicago. A Hard White Body weaves together material and nonhuman histories alongside the life and work of three historical figures: American writer James Baldwin (1924-1987); French explorer and global traveler Jeanne Baret (1740-1807); and artist and naturalist Maria Sibylla Merian (1647-1717). Lin uses porcelain, a material whose history includes nineteenth-century imperial and scientific uses, to highlight fantasies surrounding whiteness and purity, only to subject her porcelain assemblages to pungent organic materials. She thus stages processes of contamination between organic and inorganic materials, creating an unstable sculptural ecosystem. In addition to an essay by curator Lotte Arndt that discusses the various iterations of Lin's project, the publication features an essay by Rizvana Bradley; a conversation between Jih-Fei Cheng and Mel Y. Chen; and a conversation between the artist and C. Riley Snorton. These texts are accompanied by a visual essay by the artist and a selection of exhibition views.

What constitutes the social context of architecture? What kind of stories can be told about how lived experiences across global communities, cities, territories, and ecologies resonate with architectural and space-making practices? The 2019 Chicago Architecture Biennial explores the implications of architecture and the built environment as they relate to land, memory, rights, and civic participation-drawing buildings, planning, art, policy making, education, and activism into new conversations at global and civic scales. Published in conjunction with the third iteration of the Chicago Architecture Biennial, ...and other such stories extends the exhibition's core questions through a range of essays, interviews, and visual dossiers, along with a section introducing the Biennial's contributors. It is structured by a series of curatorial frames: (1) No Land Beyond reflects on landscapes of belonging and sovereignty that challenge narrow definitions of land as property and commodity; (2) Appearances and Erasures explores both shared and contested memories in consideration of monuments, memorials, and social histories; (3) Rights and Reclamations foregrounds aspects of rights, advocacy, and civic purpose in architectural and spatial practices; and (4) Common Ground addresses practices invested in producing and intervening in public space within and beyond the field of architecture.