In June 2003, the Andy Warhol Museum in Pittsburgh mounted an exhibition of Warhol's iconic Electric Chair print series—ten large-scale prints along with several smaller prints and paintings—as a catalyst to generate discourse on the issue of capital punishment. The project, Andy Warhol's Electric Chairs: Reflecting on Capital Punishment in America, which came two years after the execution of Timothy McVeigh and shortly after the decision by Illinois Governor George Ryan to commute all death sentences in that state, raised significant questions about the social utility and morality of the death penalty.

Let me begin with a bald statement: Race-conscious affirmative action is not about diversity. Rather, it is about justice. And it is about the kind of justice that the American legal system is ill-equipped to deliver: transitional justice._^[1]

You might ask, who am I and what standing do I have in...

This is a story of individuals undone by systems—like every story in The Wire.

To lawyers, at least, the disciplines of the humanities and social sciences represent techniques for determining, representing, measuring, and summing desire. 

In light of current events, Shakespeare helps us realize that only those already protected by the law can afford to show mercy.

If you help your team win a match by deliberately breaking the rules, as Luis Suárez did last week, are you a hero or a cheat? I think a cheat, but let me say why.