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In this issue

In this issue, we look at the oeuvres of New Delhi-based Bengali artist and poet Mithu Sen; Fahrelnissa Zeid (1901–1991), whose abstract paintings were revered in her native Turkey and Jordan; New Zealand’s Billy Apple, whose work encompasses 1960s Pop art, 1970s Conceptualism, institutional critique from the 1980s, and art incorporating cutting-edge science; and Hong Kong sculptor Annie Wan Lai-Kuen, who uses clay to disrupt expectations about familiar objects. For our special column Inside the Burger Collection, we feature Julian Rosefeldt’s “I Am at War with My Time,” a film project which excerpts and samples 14 different renowned manifestos. In Profiles, AAP meets with Lebanese-American photographer George Awde, to discuss his series on Syrian migrant workers as well as collector Haro Cümbüşyan to learn more about his Istanbul-based micro-nonprofit Collectorspace. We sit down with Vietnam’s Dinh Q. Lê, to hear about his ongoing projects that focus on communities affected by regional conflict, and also introduce Khmer-American artist Anida Yoeu Ali, whose provocative performances look at race and religion-based conflict. The Essays section looks at the legal challenges unfolding in the field of drone art, and ruminates on a recent initiative to auction off the naming rights to a garbage landfill in Manila. Our three-part series on the UAE’s arts infrastructure concludes with an analysis of various local collectors in Dubai. In the Point, Sedition Art founder Harry Blain explains why digital limited-edition artworks constitute the most exciting platform for today’s artists and collectors. Taiwanese artist Charwei Tsai pens a One on One in admiration of the 20th-century Pakistani modern master Ustad Allah Bakhsh (1895–1978), a Dispatch report is filed from Dhaka, and for Where I Work we visit the Beijing studio of Xu Bing. In Fine Print, Hong Kong-based attorney Antony Dapiran discusses the urgent for signed contracts in high-value art transactions.

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