Kara Walker's public installations in New York and New Orleans ask, what can contemporary art do to reckon with its links to racial capitalism?

Mixed forms are crucial not only to the understanding of khuntha, mukhannath, and khanith communities, but also to the very scaffolding of Almarri’s paper. 

I aim to explore in what follows the terms khuntha, mukhannath, and khanith, and their associated identities, along with their linguistic characteristics and literary uses.*

Traoré’s 2017 film reminds us that the border itself is a problematic institution. Even in its most stripped-down form, a border exists for the exercise of power against those populations whose movements it controls. Who crosses—and at what cost—depends on lines of race, class, and gender. 

It is not a coincidence that distant reading does not deal well with gender, sexuality, or race. But if we re-commit ourselves to the project of exposing and interrogating power, we arrive potentially at a form of distant reading that is much more inclusive.

How the autism spectrum in the popular imagination overlaps with and feeds a particular feature of European-American whiteness: the bias toward independence and self-sufficiency. 

What does the online speculative realism movement have to offer a conversation about gender and blogging? Easy: several years of experience dealing with intimidation and despair. Whenever you put new stuff out there, you get flak, no matter what your gender.